Tag Archives: Artists

A little girl connects with someone outside.

Can you handle it?

As I watched this video (below) with my jaw half-dropped, I wondered how many girls will look at this without blinking an eye?

When the main words in a song are “video phone,” and there’s a woman — actually, two — writhing around with virtually nothing on, stroking giant, plastic, phallic guns, purring “if you want me, you can tape me on your video phone,” I have to wonder how desensitized North American teens are to this BS — and how many will look up to this ‘superstar’ and want to emulate this crock of crap.

I’m a huge fan of catchy pop tunes, and I love a good dance number as much as anyone, but this is beyond. Utilizing video — perhaps our most powerful medium for conveying information and ideas to the masses — to create epic works of socially constructed, gendered lies is criminal — this is the Male Gaze, personified. (Literally: there are men with video cameras in place of heads.)

I realize that there are SO many videos like this, and ones that are much, much worse; I simply haven’t paid attention to any of them for such a long time, and watching this one today, after several years of cleansing my palate from mainstream junk, set me right off.

Well, onward. It only fuels my fire to move forward with my own aspirations of making video and films filled with conscientious, positive content that lifts women (and men) up, rather than dragging us down to this tickity-tack level of lo-fi kitsch so glaringly deprived of any wit, intelligence, or style — and, ultimately, respect.

The medium is the message. This is merely to say that the personal and social consequences of any medium – that is, of any extension of ourselves – result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology.

Marshall McLuhan

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Distortions

Photo from Distortion series by Andre Kertesz

Photo from Distortion series by Andre Kertesz

In a photo historical context, it is natural to place Kertész’s nudes in line with later experiments by Brassaï, Hans Bellmer and Paul Strand, wherein different forms of manipulation created distortions of forms.[…]

Kertész’s pictures can also be read as a comment on the space women occupy; a space which is completely destabilised due to the use of mirrors. Usually, we have no problem with identifying the physical frame around the body, but here it is not the body that is photographed, but the reflection of it in its physical surroundings. In that sense, one may argue that the pictures are not at all about the body, but about the disintegration of a spatial perception to which one has become accustomed. In that sense the pictures can be argued to have developed from the Cubists’ deconstructed and fragmented spaces. The ruling disorder becomes an attack on the endeavour to instil the human body in a lucid space, which provides it with a defined place. The body is, in Kertész’s photographs, transformed into an object we no longer have a firm grasp of; the body avoids us as a slippery bar of soap. Consequently, it escapes the kingdom of the gaze.

Pg. 9, ANDRÉ KERTÉSZ • DISTORTIONS

What an excellent interpretation of Andre Kertesz‘s innovative, seminal Distortion series. Women – and men, for that matter – certainly live in an inherently destabilized space. Consumerist-driven irrational social and gender constructs create this unhealthy, upside-down environment that has devastating effects on people.

In these works, the image is not about the subject itself – instead the focus is placed on the lens through which the subject is seen. This distorted manifestation becomes how the subject – in this case, ‘woman’ – is perceived, questioning the fragmentation that has occurred between a more authentic ‘reality’ and this final perception (distortion). The series points out how ‘true’ – real – these perceptions seen. Our fragmented, distorted view of women (‘woman’ as subject) seems organic when it is indeed not. Rather it is the result of myriad fragmented pieces haphazardly – yet meticulously and purposely – reconstructed by consumerist social constructs.

I highly recommend reading the write-up in its entirety if you are interested in learning more about Kertesz’s fantastic work in general or his Distortion series specifically.

#1 from Distortion series by Andre Kertesz

#1 from Distortion series by Andre Kertesz

Cindy

One of my all-time favourite artists, Cindy Sherman, on Art21.

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People think because it’s photography it’s not worth as much, and because it’s a woman artist, you’re still not getting as much – there’s still definitely that happening. I’m still really competitive when it comes to, I guess, the male painters and male artists. I still think that’s really unfair.

Heart

heart-hurt

Some friends and strangers have kindly featured my artwork on their respective sites recently!

If you’re interested, here they are.. Interview with talented artist and entrepreneur Valerie Parisius, interview with travel writer Alana Morgan, and some of my drawings via Sarah at Mapping Words.

It’s really fun and a real honour to have other people interested in what you do. I feel grateful.

Hugs all around.

I’ll take this time also to invite you to sign up for my bi-monthly newsletter with art, photos, and short updates on whatever’s going on in KimLand. They’re short, sweet, and have a few colourful pics from wherever I am.

Cheers!

Kochi-Muziris Biennale 2012: The Perennial Lates

_MG_3361b _MG_3344n _MG_3362

So. The Kochi-Muziris Biennale. Yeah. Um.

Hm.

That’s pretty much what the opening was. An unimpressive series of hesitations with the title of the event paraded on signs. Paraded is too active a word. Pictured. M.I.A performed. She is small and vibrant. I think she was a tad tired, though. I can imagine, I’m tired too! Don’t get me up on stage needing to placate a hundred fans who just sat through 4 (yes, four) hours of listening to the Indian heads of committees and chairs of this and that drone on and on.. and on.. and the drummers who were awesome for the first hour and then kept playing for another two and everyone’s ears turned to mush. I remember actually thinking, I’m so happy to not be on stage right now and not have the responsibility of needing to entertain people. I think her music is super-rad (if I may take the liberty that is rightly mine to sound like a teenaged relic from the eighties). It was indeed cool to see her live, for free at that. The sound system – does this go without saying since we’re in India? – was horrific. Atrocious. Her mic wasn’t turned up at all, while the rest of sound –live dj spinning, computer beats – was blaring. It was an experience, a tiring and colourful one. Got to take pictures from right up close too(!). Happy I saw the show. The officially biennale inauguration I could’ve done without.

So, yeah, they –the biennale- got a major act, good on them. But good on her too, since she gets to exhibit. Which of course I missed. Other people were on top of it but somehow I managed to slack off on this. I couldn’t find it! Maybe because there were no maps of the venus. Oh, right. Take your time, India and artists, take your time. No rush, no pressure. No one’s really here yet anyway, except, well, the people who made the effort to show up on time. (Otherwise known as: Us idiots. What were we thinking?!)

The opening was a cacophony of nothingness. Yes, the sound of nothing happening was that incredibly loud. To me, anyway. There were no waste-baskets (to be expected, but still, come on!) on the grounds. Typically Indian, the inauguration consisted of the Indian heads of committees all up on stage sitting in their chairs, going up to the podium one at a time to ramble on about whatever. (I say this as a person who is interested in art and the festival.) The chief minister was 30 minutes late, of course. Half the people sitting on the chairs on the stage were talking away on their cell phones, audibly, while audaciously/hilariously covering their mouths with their hands, as if this making their rudeness less conspicuous rather than more. Oh, but never mind: Half the Indian audience was babbling away on their phones too. Hysterical. Like an SNL routine: Live from Kochi! Dear Hanuman.

In the next few days following the opening night of auspicious 12-12-12: No buzz, no energy. There were a few talks happening, no exhibitions that I saw were actually set up. Now, I could’ve missed ones that were. I did not get around to everywhere. Muziris might’ve been banging. Fort Kochi, however, was very, very sleepy. My guess is that in a few weeks’ time, the place with jumping with energy, very cool shit will be happening. Momentum and press will be gained, things will roll and there will definitely be tons of stuff worth experiencing. I’m just disappointed that I came at the start, nap-time. I didn’t know. I mean, this could’ve been the one time the Perennial Lates of the world – India and artists – pulled their shit together and got it rocking on time, on schedule. But I guess that wouldn’t be very rocking, would it. Slow build, fashionably late.

Well, I’ll be in Hampi, or maybe another country by the time it gets cooking, by the time licks start flying off fingers, so I will settle with some resignation for a free concert, good dates and cinnamon-spiced coffee. (Vasco’s cafe. Yes please, you are so good.) Not too shabby I know, but for an art-lover, a tad on the disappointing side.

Concession: Around Saturday and Sunday, things started happening, things to see-experience. Slow, yes, an amble not a roll. But still. Review of the opening photography exhibition to come. (Hint: I liked it!!)