Ohhh this week has been rough.
I had a couple of approaches to the 3D programme (blender) but OH MY why is it so hard? Every time there was something wrong with one or the other part, it didn’t want to cooperate with me. at all. At some point, I ran out of computer memory, so I had to spend some time on cleaning most of the things. Just to make you aware of what I’ve been doing, I’ll put here the tutorial that I used to learn something:
Yeah, but it didn’t work, I wish I had some screenshots, but to be honest I had problems at the very beginning, I stopped at creating the floor. Well, that’s why I decided to go back to my trusted Ipad app – NOMAD SCULPT. I started the base of my room and which I’ll be working on more throughout the weekend:
I’ve decided to not include one wall, that has a window on it. I think the hole in the room is a window itself – it let people look into my private space. I make it an open space, that shows who I am, how I live my daily life. But is it really? The issue I raised in the previous post about making the work more meaningful will be continued now. I ask myself a lot of questions: Do I want to show everything? If not, then why? Will people make assumptions about me based on this room? Probably. Will they be rigrt? I don’t know. Do I really know myself? That’s a good question. Are we able to be always honest with ourselves? Are we able to be honset with others? I think I lie myself often, I know I lie to others more much than often. Do I trust myself? Not really. Do I trust others? I want to believe that I do. Will people belive me that this is what my everyday looks like?
A bedroom is a very private space, that hides a lot of truth about ourselves, that even we can not be aware of. Is it too much self exposing? I know I am not the cleanest person if it comes to my bedroom. Am I ready to show my all good and bad sides? Will I manipulate the real world to show myself in a better light? It is very possible, because we don’t want people to see our flaws, even if everyone has these. Especialy we don’t want to show our imperfecions to just recently met people, we want to show them the best version of ourselves. What will people think if they see how lazy I am sometimes to clean my room? But is it lazines tho, that keeping me from doing my household chores? Do I know what it is? Maybe. Maybe not. Maybe I am too scared of the truth to realize that the problem might be hidden somewhere deeper. What is the truth then? Ehat is the truth? thruththruththruththruththruththruththruththruth
t r u t h
T R U T H
Is anything true?
Our second class, was the same as in the previous years. We were given paper, sharpies and a bunch of artists works, that were supposed to help us gain some inspiration, and understanding of the theme. Here’s my response that I made in the class:
I’ve included there a drawing of a cow-woman, scribbles with the question “dlaczego codzienność jest taka sama a jednak taka inna?” whit is the same question as on the drawing with the unidentified animal. I’ve also put there doodles of buildings and objects of everyday use. The one with the tea mug has a tex in polish written next to it which says “do you want some tea?” “you know I don’t like tea” what was an almost everyday conversation that I had with my mom back in Poland. I’ve also started to write numbers 32, 9, 2, 15 in order which are my every flat number that I lived in.
The artists ant their works that my attention was mostly drawn are: Francis Alys – Children’s Games, Sophie Calle – The Hotel Room
FRANCIS ALYS – CHILDREN’S GAMES
Francis Alys is an artist that I’ve already done some research about due to the project Green Line. This time I will give a closer look to the project Children’s Games which is a collection of 33 videos of children from all around the world playing different games. The project started in 1999 with a gap of 8 years between first and the second video, after 2007 the new videos were constantly recorded with smaller breaks in between. The project shows how kid’s imaginativeness can turn simple and ordinary objects as chairs, stones, coins and plastic bottles into something special and unique that let them discover new sensations and make the free time more enyojable. By investigating open space and the everyday through the eye of children, Alÿs proposes an intimate however political see of the universal nature of games. The games contains in itself an echo of the rituals, symbols and insights of each particular society showed through the lens off his camera. Even if the artists always follow the children, moving with their movements, he never gets involved in their games. This makes a kind of barrier beetwen them, it separates us from the world of innocence, but neverthless lets us look into it. There’re always background noises audiable in the videos: wind, birds, crickats, screams, talks and laugher of kids. We’re let to see the one particular moment in their lives, that even in poor sourandings with the feeling of the war all around gives us some optimistic feeling, because of cheerfulness ang brightness of these children.
SOPHIE CALLE – THE HOTEL ROOM
The artist Sophie Calle began working as a hotel maid in Venice in 1981. Her project included recordings she had taken over the past few weeks. A camera hidden in a mop bucket captured the contents of each room the artist cleaned. She didn’t refrain from strangers’ property such as wallets and transcribed unsent postcards, photographed the contents of wastebaskets and inventoried the clothes hanging in closets. She didn’t look for the locked briefcases tho, unless someone had left the key to it. The result of their intrusion was a diary orad photographic documentation of the rooms. Calle first presented the project as an installation of large diptychs that paired bilder with text and later turned it into a book.
“The essential unknowability of other people haunts all of Calle’s work, as both the greatest inducement to curiosity and the greatest threat to creativity. In “The Hotel,” the details that we think of as the most intimate—stained sheets, used tissues, a bloody sanitary pad on the edge of the sink—turn out to be the least interesting: everyone’s dirty towels look the same. Such barriers to real intimacy are most obvious, and most ominous, in Room 45, where a “Do Not Disturb” sign hangs on the doorknob for six consecutive days. “I begin to wonder if anyone is really staying in there,” Calle writes.” https://www.newyorker.com/books/under-review/sophie-calle-and-the-art-of-leaving-a-trace