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PZi MEIA 2014-2016 Trimester 1.-

Essay Field 1.

Text Textile Textured States of Self

Karin Arink

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[3] “The Greek word ‘scholé’ means first of all ‘free time’ (other related meanings are delay, rest, study, school, school building). Free time, however, is not so much leisure time, but rather the time of study and exercise, the time separated from the time of production.”

Production in my case takes place in three related practices. I am an artist by training and just made my deadline for a CollectieOpdracht? for the Dutch TextielMuseum?. I have always collaborated, now mostly as member of Stichting B.a.d (postponing some tasks there for this Essay Field). And I am an art educator, working both in administration and as tutor for the WdKA? BA Autonome Beeldende Kunst: the Dutch name of our Fine Art department. This translates as Autonomous Visual Art, problematic to say the least...

In my practices, different subjects are active. In image and texts, I make embodiments of ’states of self’ (see further down). As art educator I am of course curious what conditions foster a good contemporary ‘Autonomous’ art education.

But what does it mean to claim to be ‘Autonomous’ nowadays? As Wright writes in his Lexicon: “Literally, auto/nomos means to determine one's own laws.” [4]

Can we as artists even attempt to define our own artistic laws? Could any self be separate enough to do so? How can the ‘states of self’ of a student develop in a way most conducive to a sustainable contemporary art practice? What forms of education does that entail?

‘Autonomy’ is marked by a red downward arrow in Wright’s Lexicon as a term in decline. This makes me both irritated and ashamed at my Romanticism. Yes, Autonomy’s limitations are clear and I may have to find new words for the department; but to call a department ‘Fine Arts’ is way too bourgeois as well.

What an experience it is to study. Though my son of 11 wholeheartedly disagrees - curtly describing school as prison - school for me is truly ‘scholé’. <

Time devoted to meet and listen and read and learn and research and structure and write.

Structuring is something I do in non-linear ways. I think in parallels and analogies: between word and image, between concepts, between images, between practices. In daily life, in my professional practices and in conceptual thought I am always alternating.

As all beings, I compare the information of within with the information from outside and then project some form of identity, while listening to you and you and you and you. “I exist there where you touch me”, I once wrote, meaning by touch any form of influence. As influences there are aplenty, my forms of existence fragment.

All the input I have received through tutors, fellow students and through happenstance this Trimester, is resonating or colliding with my pre-existing experiences, forming a loosely woven table full of contents.

In this first Essay Field, I will be placing many texts (both textual and visual, poetical and theoretical) as they relate on/in the table, in a parallel way, to search for connections. I address my practices and my fascination for what I call ‘states of self’, in relation to text, textile and texture, or texxture.

During my MEIA at Piet Zwart institute, I will be researching to better describe what I mean by ‘states of self’ as focal points of corporeal existence – and of these ‘states’ in relation to artistic practice and art education. Obviously I cannot address all issues I am researching in this Essay Field. For instance the matter of a term like ‘Autonomous’ is only touched on here, and clearly needs more research. Others Essay Fields will follow... Here is #1

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inner space 1996

porcelain fragments,

dimensions variable [5]

as a counterpart of the porcelain work, I wrote the text piece inner space 1996 [6]>

inner space

Imagine yourself moving within your own body. From the favorite spot behind the eyes you slide down, past the jaw into the gullet.

In the stomach you mix with the gastric juices and then you slip through the circular muscle into the intestines. Once there, you are slowly absorbed by the blood.

You travel through the veins. Through the blood cell's transparent membrane you see arteries stretch out, with an infinite number of side branches. To the left and right, blood cells speed past you. Then, a dark, purple organ consumes you, and only after careful filtering separates you off.

You see other organs, strangely shaped and unrecognizable. You catch a glimpse of the bluish white of cartilage, at times you feel ribbed muscle tissue. You thread your way along an enormous smooth bone, careful not to tear the delicate web of nerves; you graze against the fatty underside of the skin.

As you lose your orientation, only fragments get through to you: spiky, spongy, chalky, rounded, thin, soft... The fragments approach you with increasing speed, and the impact with which they hit you is unexpected and hard.

You are a stranger here.

It is not long before you are lost in an endless purple darkness.

Shame interests me on many levels. As a mother I see my son getting ensnared in it from time to time. As a student the connection in the group is a battle with shame (about me being too loud, too present, too different – but I am sure my fellow students often feel their own incertitudes as well). As an artist I have learned that making a piece without experiencing shame or even disgust during the process, often means the piece is a decorative extenuation of previous ideas and not a strong work per se.

I am reading about shame in Eve Kosofsky Sedgwick’s book Touching Feelings [7]. She refers to Silvan Tomkins’ Affect Theory. What fascinates me about this, is that for him, affect refers to the “biological portion of emotion”, connecting physical reality with the human experience thereof. Furthermore, he acknowledges the complexity of the affective experience by describing it as the result of both an Innate mechanism [of biological – and might I say physiological events] and a “complex matrix of nested and interacting ideo-affective formations” [8].

Matrix! The form I am writing in now. Love the movie, by the way... On another note: matrix does seem to be quite a static word for multi-layered dynamic interactions - which seem to be (or are at least related to) what I call the ‘states of self’.

Or am I assuming parallels too easily now...?

So, now I am weaving an essay. Though I have been writing in many forms, I have a deep fear of the essay. Why? This fear originates from before I knew the French forms of the essay. As Barthes, quoted by Corrigan [9], states, the essay is “an ambiguous genre, in which analysis vies with writing and proclaims for this writing what I argue is more specifically the province of the essayistic, a discourse of “loosening”, “fragmentation” >, “digression” and “excursion”.” This kind of totally describes my process of thinking, still writing an essay scares me. Maybe I am afraid because I fear my thought processes are not structured enough to be going anywhere. Or because I am ashamed < as they might center too much around me... But I have to start somewhere, and I start with studying my practices and thought processes, and weave them with new knowledge to find (or knot) the nodes.

In this essay I make use of a simple research note-making tool mentioned in Zemliansky (2008) Methods of Discovery [10]: the use of columns, one for quotes and one for notes. What a brilliant idea.
I expanded the two columns into four to make space for more information, textual as well as visual.

The table or matrix is daily staple in my job as an art education administrator. A table is a thing of beauty as it allows different types of information to coexist and intersect. Columns and rows woven, an archetype of textile.

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compilation of slides of my first Self-Presentation at MEIA PZi, Sept. 2014:

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I am a maker of things. Fragile things. Physical things. Abject things. Fragmented things.

I also organize things, make immaterial structures of encounter, I can be a mediator between you and you, but my first profession is making.

From the very start, my drive was to make objects relate to human existence. What I was making had to go beyond the indifferent art object. I studied during the late 80s. While my art school tutors were addressing the object-hood of an artwork - and classmates were experimenting with the square and the shower basin as sculpture, I was searching for the figure. What I would make had to relate to spectator: if possible, physically. To research the experiences and projections of physical presence, I started practicing dance improvisation in a group. A true eye-opener were works of e.g. Pina Bausch [14] and Anne Therese de Keersemaeker [15].

“To look at an object is to inhabit it,” Merleau-Ponty wrote >, and I took him on his word and made wearable objects.

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“to look at an object is to inhabit it, and from this habitation to grasp all things in terms of the aspect which they present to it. But insofar as I see those things too, they remain abodes open to my gaze, and, being potentially lodged in them, I already perceive from various angles the central object of my present vision.”

[17]

“Today I am

a small blue thing

like a marble, or an eye

I am small and cold and curious

I am watching you...

I am cold against your skin

you are perfectly reflected

I am thrown against the sky

I am raining down in pieces

I am scattered in my flight...

[...]

[18]

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OnePiece Remake 2011

video performance

of Renée Kool sculpting ‘me’ – body as art object – according to my commands, spoken from within.

collaboration with Renée Kool

for the exhibition De kijker in beeld. [19]

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This soon became limiting and I now make sculptures and installations, drawings and animations and texts, but still from the point of view of the artwork as a husk, a carrier. Why? Because my work needs to be read as a material embodiment referring to an experience both inside and outside the spectator’s. A corporeal experience. And for that to work on an existential level, the artwork needs to refer to a corporeal presence. It needs to be a husk of a being, just like me, just like you. >

“In his posthumously published Art and Agency (1998), Alfred Gell defines objects in performative terms as systems of action, intended to change the world. [...] His anthropological theory of art considers art objects as ‘persons’.”

[21]

> When teaching the 1st years ABK some years ago, one of my assignments was as follows: “Imagine I am the curator of an exhibition space of your choice, and you are invited as an artist to make a work in any medium for an exhibition with the title I am who you are.”

Students would start with: “So this is about self-portrait?” Until they realized that the title implied a reflection between two positions, either artist and spectator, or any other dialogue. Amazing results followed...

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animation still

of one of the ‘signs’ selected for my project

JMOIUJ – Tekens tussen jou & mij 2005, investigating various body signs, both those used in my work and in visual culture [22]

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To achieve that, to transform material into semi-abstract form into being, I work from what I call states of self. States of self are ever-changing interactions between consciousness & corporeality & ideas on how you should manifest yourself– through body, garment, language and signs.

Though I may appear to speak of social constructs here, I am actually searching for how these ontologies > interconnect with very physical, tactile, corporeal experiences. In fact, for the interplay between an Innate mechanism [of biological – and might I say physiological events] and a “complex matrix of nested and interacting ideo-affective formations” as described by Tomkins (see square 1 on row 2). [8]

In order to understand the topics in my visual work, I have tried to index and map these multiple interactions > but I fear the terms I use are confusing. So is the term ‘states of self’, I find...

In short, why does my work and research revolve around the body? Apart from the body as communication tool, it is also a mode of existence. And though communication is essential for me existing as a person, educator and artist, it is not a tool to communicate what I know. It is a mode to research forms of existence, manifestations of a self.

“Ontology: the part of philosophy that studies what it means to exist.” [24]

“Ontology is the philosophical study of the nature of being, becoming, existence, or reality, as well as the basic categories of being and their relations. Traditionally listed as a part of the major branch of philosophy known as metaphysics, ontology deals with questions concerning what entities exist or can be said to exist, and how such entities can be grouped, related within a hierarchy, and subdivided according to similarities and differences.” [25]

Obviously the study of the complexity of ‘being’ is interesting for my research, but now I realize that the index I was searching for and using to structure the chapters of my artist book Karin Arink – States of Self, [27] is, in fact, an ontology: >

1980 Engel [26]

bioshere

society – state

culture – subculture

community

family

twosome (pair)

person:

behavior and experience

nerve system

organs/organ systems

tissue

cells

organelles

molecules

atoms

sub-atomic particles

2008 Arink [27]

influence

mumbag

you & me

face facade

body sign

carrier

tissues & elements

I am a big fan of speculative fiction, a form of fiction revolving around an idea, a “what if..?”, like SF.

The 1995 anime film Ghost in the Shell [28] continues to fascinate many, including me. The well-known manga style notwithstanding, the spectator engages with the existential dilemma of the protagonist, Major Kusanagi (in the process of being produced in the intro still here >).Though practically 100% cyborg, she thinks about the nature of her existence, and feels the ghost (or spirit) in the shell of her robot body.

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In RWR class, Lori van Vlerken introduced me to FKA Twigs. Wow, a triphop artist working with states of self – representing different aspects of being a strong/cool/feminine/... (triphop) artist! I spent all night watching video clips of her songs on YouTube? – also the different versions of clips per song. Wow.

< In the Kanda clip of her song How’s That [30], digital scans of a body (or bodies), distort and dissolve, move on the beat and disappear like a flash in the black or white background. Fluidity and fragmentation.

"It is self-evident that nothing concerning art is self-evident anymore, not its inner life, not its relationship to the world, not even its right to exist." [31]

When I read Adorno’s famous first line of his Aesthetic Theory (1970) I understood why art for me is such an important professional field, because of the analogy between the status of art and the ‘states of self’. The two are intertwined in my thinking, and giving space for the one makes the other exist, in the tentative way Adorno describes above: with uncertainty of this existence in your very core, stretching out into all relations you have with the world – as an artist and as a human being.

At the start of our talk, Jean-Luc Moulène [32], visiting professor in CCA Kitakyushu when I was there 1998-1999, asked me what my work is about. “I research the ways in which my existence manifests itself,” I answered, and he replied: “So you doubt your existence?” He was so instantly right that time stopped, though we kept walking along the sunlit corridor.

But I shied away from the subject at that moment, feeling the emptiness as a lack of knowledge, a loss of control. Alas, because doubting our existence is nothing to be ashamed of, I feel now.

During one of the group feedback sessions of Self-Directed Research, Clare Breen pointed out the lecture of Daniel Kahneman: The riddle of experience vs. memory (2010) >.

He describes how our memory or story of an event supersedes the actual physical experience of the moment. >

In my work, I try to imbue the narrative or constructed story of existence with a return to the tactility of the experiencing self. Tactile information informs our thinking much more than we give it credit for. Even when growing up, simple moments of touch have a huge influence on our development. We build our identities on the basis of these experiences, translate these into memories, into narratives of ourselves. This complex to & fro & through & in & beside & between of ideas and tactile experiences are what I call ‘states of self’! This makes my thinking about my work much clearer now.

Daniel Kahneman: The riddle of experience vs. memory

TED YouTube? description [33]:

“Using examples from vacations to colonoscopies, Nobel laureate and founder of behavioral economics Daniel Kahneman reveals how our "experiencing selves" and our "remembering selves" perceive happiness differently. This new insight has profound implications for economics, public policy -- and our own self-awareness.”

[...]

I am turning up in circles

And I'm spinning on my knuckles

Don't forget that there are circles left undone

Very close to me

Forgive me, comfort me

I'm crawling on the floor rolling on the ground

There's a blanket wrapped around my head

I'm moving in a line that's shaped like this

I am I am holding in my breath

I have a room

Can you tell if I am lying

Don't forget I'm living inside the space where walls and floor meet

There's a box inside my chest

An animal stuffed with my frustrations

Can you hear me?

Don't forget that I'm alone when you're away

You make me act like other people do

Forgive me

[...]

[34]

This loss of the solidity or self-evidence of our existence is nowadays addressed in many ways, by many artists, in many media. In the videos of FKA twigs, in the many SF movies about man-machines, or in e.g. the fashion/photo/video/ performances of Bart Hess:

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The website page [35] reads: “Shiny latex and an endless grid of tubes transform the human into a mutant. The Mutant embodies the ever-changing boundaries between the digital and physical world.

Texture – whether in text or in and through a material, like textile, is an important medium in my artistic work. Through appealing to the tactile senses, I hope to activate the observer’s sensory and immediate experience. I work to achieve it through details like folds and impressions (literally, from my fingers, generating impressions for you, the spectator).

This aspect is called texxture by Eve Kosofsky Sedgewick (2003). As she describes it in Touching Feelings, quoting an essay by Renu Bora, “Texxture is the kind of texture that is dense with offered information about how, substantively, historically, materially, it came into being. A brick or metal pot that still bears the scars and uneven sheen of its making would exemplify texture in this sense.” [36]

This may sound a bit archaic, but what she is pointing to is a critical use of leaving the material processes visible as a (sub)text, enriching the communication.. So how does this ‘texxture’ work?

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As example of texxture my own work: one of the detail scans in Karin Arink – States of Self, [24] made in collaboration with artist/graphic designer and friend Bibo:

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Das Vergleich: to compare the use of texxture in Ni Haifeng’s work and in mine,
I juxtapose two works and their methods:

1. shell (moule = mussel and mould)

---

The space is white. Light pours in from everywhere, the walls only visible by their thin.

As Eve Kosofsky Sedgwick continues in her description of Bora’s essay: But there is also the texture - one x this time - that defiantly or even invisibly blocks or refuses such information; there is texture, usually glossy if not positively tacky, that insists on the polarity between substance and surface, texture that signifies the willed erasure of its history.”[36]

This quotes makes me think of Hess’ work, and also of the shiny polyester of my Manifold Mumbag. >

Is this household bed cover pink polyester satin material typical of texture with one x? I would guess so. Then is my making process, cutting and sewing it together with small folds and clashing colors, a way to turn the polyester into texxture? I always decide consciously to leave traces the making process in the surface of the work, to accept small sewing mistakes like the catching or doubling of the fabric... And yes this texxture does evoke the act of touching for the spectator, creating a meeting field between ‘me’ and ‘you’ in the work.

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Ni Haifeng (1964) Para-Production, 2008,

textile shreds, sewing machines, wall text, photograph, soundtrack, work in progress, installation view in Joyart Beijing

[39]

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Karin Arink (1967): Manifold Mumbag & fragments of the white visions, 2006,

satin, plastered textile, spoken text

in the Project Room of Stichting De Pont Tilburg

[40]

outlines. There are no shadows. There are no people in sight

S. is enclosed by walls. Through every opening, she spots other walls, very close by.

She stands and looks around.

The air is stuffy and the walls get on her nerves. She wants to get out.

When the doors disappear, she starts running, right through the walls. They are easy to run through, like paper covered with a thin layer of plaster. They splinter around her as she picks up more speed. It does not hurt at all, the breaking creates a wild feeling of pleasure. Again and again her body crashes through the thin white walls, leaving a trail of debris.

But there is no end to the walls. And slowly, the moving does become heavier. And heavier.

In the middle of a large room she stops, panting.

It is somehow difficult to breathe, to move.

She looks down.

Her whole body is covered in plaster, remnants of the walls stuck on top of each other. Layer on layer of plaster has covered her, covered her completely.

The trunk compresses and decompresses in the limited space, allowing only for very superficial breathing

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This work reflects and inverses the production process of consumer goods: shipping the left-overs of clothes manufacturing from China to the Netherlands in relation to shipping the finished products (clothes) from China to the Netherlands.

The artist, Ni Haifeng,

- uses left-overs of industrial production to

make an art work

- choses matte materials made in China, in predominantly dark colours

- presents all aspects of the process in exhibition space (also transport numbers etc)

- and his assistents are sewing cut-up textile together to form huge surface

- in a collaborative process with a group of friends/former students /collegues - unpaid

- makes the whole production process visible in exhibition space, which becomes a Para-Production site including all elements, audio, prints, photo, textile scraps, sewing machines, huge textile object, in a huge space

- refers to Marx’ Das Kapital as text

- and presented a related earlier work, The Return Of The Shreds 2007 in an exhibition space which is a historical textile industry site: De Lakenhal Leiden.

This work presents an enclosure, transporting personal experience to art space (the white cube); as the title discloses, actually 2 works are present, the spoken text fragments of the white visions. For this texxture Vergleich (= comparison, but I prefer the German word) we focus on the textile piece.

The artist, Karin Arink,

- uses household textile bought in a shop to make an art object

- choses shiny polyester satin material made in Turkey, in bright ‘girly’ colours, white within

- presents no mention of the source of the material or the process of acquisition/consuming

- was cutting up the end-product of industrial production and then sewing the hand-shaped pieces together

- is doing this with an assistant (friend/former student) who is paid

- does not make the production visible in the exhibition space (which remains a white cube)

- is combining this piece with plaster-coated ‘sheets’ made in this space (process removed) and with a spoken text piece of imaginary experiences of a white white space : fragments of the white visions (excerpt of the artist novel S./The Bearer of STATE). >

- and presents this in an exhibition space which is a historical textile industry site: De Pont Tilburg.

S. is encased in an unbending shell, shrinking her into her place.

A mould, formed by and shaping

this

weak

bag of flesh.

2. infection / infiltration

---

S. finds herself inside the plaster shell.

Her body is yielding to it, almost snug in the too tight enclosure.

She is not afraid. She knows that fear is something she cannot allow herself. Composed, she waits and starts to enjoy this state.

Her self expands, the white space becoming a reflection of a boundless being. She dissolves.

Though her body remains shelled in, her mind permeates the expanse she is in.

Where did she leave her body?

When her mind has taken over the entirety of the space, there is no more room to turn and look. She has a new body now, a spatial body, with somewhere, hidden, her old one, discarded.

But she is not alone.

A multiple presence is avidly taking in everything in the white. [...]

[41]

I have to end Essay Field #1 somewhere, and this is here.

Loose ends abound in this text-as-texture focusing most of all on the ‘states of self’, circumscribing/inspecting it with topics and information from different sources.

Loose ends remain, like the subject of shame (only touched upon here): the Affect Theory and the Touching Feelings book still need to be read into more deeply, a.o. the use of ‘beside’ (which is put into practice here, I suppose).
The term and content of ‘states of self’ can become more precise, and of course all of this research needs to focus more on all my practices, on how they interrelate and on how this can inform art education – because I did not quite get to that point now. More research into the Trickster figure may help me there... Because an artist/art educator/collaborator is always going through/in/between worlds...

At the moment, I am working on my solo for RAM foundation in Art Rotterdam. What an ‘art star’ opportunity! I decided to focus on the idea of the star – for years I have been trying to make a work around the ‘art star’ state of self. To exhibit with me, I invited Lisa Gliederpuppe [43] to show her work in which she uses hundreds of images of Paris Hilton to accompany Anne Waldman’s Fast Speaking Woman -.another work which can be read as an array of ‘states of self’ [44].

Lisa showed me an episode of Rosselini’s Green Porno which gave me this great piece of information [45].

Some starfish can use fragmentation to reproduce: “Fragmentation [...] is a form of asexual reproduction or cloning in which an organism is split into fragments. Each of these fragments develop into mature, fully grown individuals that are clones of the original organism.” [46]

Or, as Rosselini puts it short and sweet: “If I were a starfish, [...] I could grow new starfish, by fragmenting my body”. [45]

Karin Arink_LittleStar.jpg

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For future essays and Essay Fields, I will a.o. investigate more into the term Autonomy and what it could be nowadays, or how it can change – and also into he nature of language and text as tools of being. I did touch on the latter in this Trimester’s Thematic Seminar project On Superfluous Things. My project there has the title In A Manner of Speaking - the First Language Presentations [37], an attempt/’essay‘ into what communication without under-standing could mean in an art educational setting.

So yes, much more remains to be researched, (dis)connected, experienced and written... Luckily my study at MEIA has only just begun.

The different practices of me are like differently developed ‘limbs’ of one original artistic practice.

Maybe the differences are smaller than I think. And yes, the processes of fragmentation & development & metamorphosis & recombination do describe creative processes in general. The modes of manifestation of the self that I use as material are fragmented: the body as corporeal tactile emotional social experience, as idea (container of self) – and as posture/shape; with garments shaping presence and projecting identity, and language doing much the same. And at the same time all these fragments form a whole. Me. And... I am who you are.

Sources / Bibliography

Images are not always numbered in the document (for reasons of aesthetics wink but are described, like the other sources, in this order: from left to right and top to bottom.

1. image detail of textile work I am making at the moment, for a Mondriaanfonds CollectieOpdracht? for the Nederlands Textielmuseum Tilburg. Deadline 4. December 2014, to be exhibited in 2015.

2. image is a cropped version of the first hit on Google search word ‘texture’ : http://bashcorpo.deviantart.com/art/Grungy-paper-texture-v-5-22966998

3. Jan Masschelein & Maarten Simons, The Hatred of Public Schooling: The School as the Mark of Democracy, Educational Philosophy and Theory 42 no. 5-6 (2010): 666-82
as quoted in
Pascal Gielen & Paul de Bruyne (eds.) Teaching Art in the Neoliberal Realm -Realism vs Cynicism; article School – A Matter of Form by Maarten Simons & Jan Masschelein, page 73, note 1.

4. Steven Wright - Toward a Lexicon of Usership - Museum of Arte Util (2013) via the website of Tania Bruguera’s Museum of Arte Util http://museumarteutil.net/about/

5. image inner space 1996 work by me: installation of porcelain fragments, size variable in relation to the exhibition space, here in the exhibition NL in the Van Abbemuseum Eindhoven 1998

6. inner space 1996 text work by me: first version on readling table in NL in the Van Abbemuseum Eindhoven 1998, this version edited by Thom Puckey and made into a cut version in Lloyd Hotel 2006

7. Eve Kosofsky Sedgwick,Touching Feelings- Affect, Pedagogy, Performativity, Duke University Press Durham & London (2003), page 11, 55, ...

8. for reasons of time I had to make do now with the short outline on Wikipedia: http://en.wikipedia.org/wiki/Affect_theory

9. Timothy Corrigan, Of Film and the Essayistic, Chapter one of The Essay Film, (Oxford: Oxford University Press, 2001)

10. Pavel Zemliansky, Chapter 3 Research and Critical Reading http://methodsofdiscovery.net/?q=node/4 of Methods of Discovery: A Guide to Research Writing (posted online 2008)

11. detail of a work-in-progress by Vincent Lauffer, 3rd year student BA Autonome Beeldende Kunst at Willem de Kooning Academie Hogeschool Rotterdam (2014)

12. image doodle made while trying out Adobe Illustrator CS6 (2014)

13. for the kick-off of this year’s Self-Directed Research, we all presented a Self-Presentation. I made a series of slides in which I visualized my different practices, sometimes with photos which could have been placed in all three categories...

14. at the time, I only saw her works on video, here is more nformation about her: http://www.pina-bausch.de/en/pina_bausch/works.php

15. my art history teacher in art school brought all of us to De Keersemaeker’s version of L’Incoronazione di Poppea: Ottone Ottone (1988), check these images! http://www.rosas.be/en/film/ottone-ottone-i-and-ii

16. image: dance video still of me improving (photo by Arthur Clemens) (1998)

17. Maurice Merleau-Ponty, this quote fascinated me already during art school (1986-1990) but I never knew the precise source, here it is reproduced as I found it, discussed in The Cambridge Companion To Merleau-Ponty:
http://books.google.nl/books?id=skuiWiWHaxEC&pg=PA92&lpg=PA92&dq=merleau+ponty+to+look+at+an+object&source=bl&ots=hzSGMR7GkF&sig=elWlOMBnTszaGTW5jYhiqWriHVU&hl=nl&sa=X&ei=gC9-VMuvBoK2aZH6gvAF&ved=0CE4Q6AEwBQ#v=onepage&q=merleau%20ponty%20to%20look%20at%20an%20object&f=false

18. part of the lyrics of Small Blue Thing of the album Suzanne Vega by Suzanne Vega (1985), as I remembered them (reproducing them in my artist’s book Inlet – such stuff as thoughts are made of Artimo 1997)

19. image: Renée Kool & Karin Arink, OnePiece Remake 2011 performance video and performance, made together with Renée Kool for the exhibition 'Kijker in Beeld' in Pulchri Studios, Den Haag 2011 –
with Renée Kool as maker, me as subject (in the yellow OnePiece-object). Video duration: 12 minutes. Stereo sound. HD widescreen video straight (recorded with tilted camera). Exposure, image & sound - Erik Weeda
Performance & Recording took place in Project Room North, Rijksakademie Amsterdam, June 14, 2011

20. image boog 1988 – photo of me with wearable object, in my studio during my 2nd year at the academy (now called Willem de Kooning Academie) Rotterdam (1988)

21. short quote on Alfred Gell’s 1998 book Art and Agency, as mentioned by Kitty Zijlmans in her article The Artist as Image Decoder - Ni Haifeng’s Agency between Europe and China, Leiden University (2009)

22. image: one of the ‘signs’ – abstracted from a free ‘Boomer’ card- that I selected for my project JMOIUJ – Tekens tussen jou & mij (signs between you&me) (2005), investigating various body signs, both those used in my work and in visual culture, and those enacted by children (age 7-9) in the workshops I gave as part of the project

23. image: photo made by me in 1997 through one of the windows of the corridor of artists’ initiative / studio building Stichting B.a.d, with a graffiti made the night before: “I wanna peel the skin of your face” – the last window of a whole series of windows with “Uh!” and “Oh!”s alternating. Quite an aggressive text to read from inside, as if scratched in my face. Beautiful as well...

24. Ontology definition according to Cambridge Dictionarys online: http://dictionary.cambridge.org/dictionary/british/ontology

25. Ontology on Wikipedia gives a broader and more eloquent definition: http://en.wikipedia.org/wiki/Ontology

26. the bio-psycho-social model was described by the psychiatrist George L. Engel in his Hierarchy of the body in levels of organization (1980), to describe the factors around disease and recuperation. I just focused on his index, which I made note of in 2007, when I stumbled across this diagram in the book Neurofilosofie by J.A. de Boer, which I had borrowed from my friend Liorah

27. the artist book/ monography Karin Arink – States of Self, published in 2008 to accompany my solo exhibition with this title in the Stedelijk Museum Schiedam (2008). Graphic design: Bibo. Digital remastering: Marc Gijzen. Printed by Veenman. Texts by: Wilma Sütö, Anne Berk and Petra Else Jekel. The ontology on the right (Karin Arink 2008) is the order of the chapters in the book, used to
structure the order of my works.

28. image Mamoru Oshii et.al, anime version of Ghost in the Shell, 1995, animated by Production I.G., based on the manga by Masamune Shirow (1989)
check of information on Wikipedia:
http://en.wikipedia.org/wiki/Ghost_in_the_Shell

29. image: still of the opening sequence https://www.youtube.com/watch?v=ed0_QuZJjS4

30. image: still of video clip by Jesse Kanda for the triphop song How’s That, written & produced by Arca and FKA twigs (2013) http://youtu.be/a7CTo2-bAA8?list=LL18U2Y_IKbqCuzoDkkTSRUA

31. Theodor W. Adorno: Aesthetic Theory (1970), Gretel Adrono & Rudolph Tiedemann (eds.) Newly translated, edited and with a translator’s introduction by Robert Hullot-Kentor, Bloomsbury Academic (2013)

32. this text on Jean-Luc Moulène explains his position (and his remark): “Since the late 1980s, Jean-Luc Moulène (b. 1955) has developed a body of work informed by a critical investigation of artistic authorship, addressing such issues as autonomy, immanence, and anarchic politics. Although he is best known for his enigmatic and seductive large-format photographs, Moulène has maintained a parallel exploration of materials and objects—manufactured and found, industrial and organic, intimate and imposing—that he has collectively titled Opus.”

33. Daniel Kahneman The riddle of experience vs. memory, TED talk on YouTube? uploaded 1st of March 2010 https://www.youtube.com/watch?v=XgRlrBl-7Yg

34. part of the lyrics lyrics of The Letter of the album Hips and Makers by Kristin Hersh 1994 https://www.youtube.com/watch?v=5_j59pESE8A - funny, her last album is the 2007 Learn to sing like a Star

35. image: Bart Hess in collabortion with Lucy McRae? - HeyHeyHey? –. http://barthess.nl/portfolio/strp-mutant/

36. Eve Kosofsky Sedgwick,Touching Feelings- Affect, Pedagogy, Performativity, Duke University Press Durham & London (2003), page 31:
“Going from Victorian plush to portmodern shine, Bora notes that "smoothness is both a type of texture and texture's other" (99). His essay makes a very useful distinction between two kinds, or senses, of texture, which he labels "texture" with one x and "texxture" with two x's. Texxture is the kind of texture that is dense with offered information about how, substantively, historically, materially, it came into being. A brick or metal pot that still bears the scars and uneven sheen of its making would exemplify texture in this sense. But there is also the texture - one x this time - that defiantly or even invisibly blocks or refuses such infomation; there is texture, usually glossy if not positively tacky, that insists on the polarity between substance and surface, texture that signifies the willed erasure of its history."

37. image: stone lips 2011-2012 photo work by me http://dekko.nl/StoneLips

38. image: a spread demarcating a new chapter, with an 8:1 scan of one of my works, made by artist/graphic designer Bibo for the book Karin Arink – States of Self (2008) see [27].

39. image: Para-Production, 2008, source Ni Haifeng website, pages http://haifeng.home.xs4all.nl/index%20copy.htm and http://haifeng.home.xs4all.nl/h-b-biography.htm

40. image: Manifold Mumbag & fragments of the white visions, installation by me (2006); see website page http://dekko.nl/DePont2006_

41. first part of my text work fragments of the white visions 2005, for the whole text see http://dekko.nl/Fragmentsofwhitevisions_
fragments of the white visions obviously refers to the works/word of Broodthaers a.o., the visions are an element of my artist novel S./The Bearer of STATE – now published online – also as part of the BookLovers? collection at M hka Antwerp B. http://dekko.nl/STATE/

42. image: detail of Manifold Mumbag in the presentation in De Pont Tilburg (2006), photo by Peter Cox – my cropping

43. Lisa Gliederpuppe graduated in 2010 at the Willem de Kooning Academie and is now working on her Master Media Technology in Leiden University; please check her site (overview of all her online works): http://lisagliederpuppe.nl/

44. American poet Anne Waldman (1945) is an active member of the Outrider experimental poetry community as a writer, performer, collaborator, professor, editor, scholar, and cultural/political activist. She has also been connected to the Beat poets.Her poem Fast Speaking Woman (1975) is not published online in its entirety, here is a glimpse: http://www.poets.org/poetsorg/poem/fast-speaking-woman

45. Isabella Rosselini Green Porno 2014 “If I were a starfish / I could reproduce sexually, or, asexually. / I could grow new starfish, by fragmenting my body / Make as many starfish as I wish / To mate / You don’t have to have a penis”
published by Sundance TV
http://youtu.be/6kxUfqUaPyc

46. biological entry on Wikipedia: http://en.wikipedia.org/wiki/Fragmentation_%28reproduction%29

47. image: my work Little Star 2011-2014, porcelain and textile, picture for the Art Rotterdam 2015 catalog

48. image: cropped Medieval miniature, discovered through a Facebook post by Thom Puckey, only traceable online on sites collecting strange illuminations of the Middel Ages.
Stranger ones (with a.o. penis trees) exist, as Jan Verwoert was referring to in his great public PZi lecture
Body Eat World Get Transmitter: On the Specifics of Corporeal Mediumship, 23 September (2014)


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