#Video Installation art

[miamaimania]

Intersections of Play: Paul Pfeiffer's The Playroom, 2012

[brianrope]

Parallel Play

Photography Exhibition Review Parallel Play | Rory Hamovit Photo Access | 29 June to 12 August Parallel Play is an Australian premiere of new work by Los Angeles-based photographer Rory Hamovit, who has a BA in photography from Bard College and an MFA in photography from Yale School of Art. His work deals with concepts of masculinity, queerness and their myriad interpretations through…

[fashionlandscapeblog]

Paul Sermon

Telematic Dreaming, 1992

[gummi-ships]

Kingdom Hearts 3 - Toy Box

[webdiggerxxx]

꧁★꧂

[peterdoroshenko]

[dumbneon]

Andrea Galvani, The End (Action #1), 2013-2019

[piizunn]

ᓄᐦᑕᐃᐧᕀ ᐊᐢᑯᑖᐢᑯᐱᓱᐣ nohtawiy askotâskopison, My Father’s Cradleboard by Morgan Possberg Denne

The New Gallery, November 18 - December 22, 2023

“Cradleboards have been used for thousands of years by our ancestors to carry and love for our future generations. They have protected us, acted as an external womb, and given us a place as children to watch our parents' culture and learn from a safe distance. I’ve always wondered if the fact that neither my father, his father, or myself was ever put in a cradleboard may have had a long term impact on our development, personhood, and our coping mechanisms to the ways that colonialism, residential schools and the foster care system has affected my family.

Now as an adult I deeply wish I could rewind the clock and put myself, and my father before me, and his father before him in a cradleboard as a child. To softly sing songs to us, give us safety, and to give us a connection to our culture in a safe environment. Maybe this would fix things. As kids when we were supposed to be kept safe and playing in the woods we were instead being prepped for the meat factory - the eternal meat grinder of colonialism.

The western world teaches us to push aside this childhood imagining and innocence - “These things can’t be undone!”, but what if they could? In another world somebody took better care of us, in another time we learned to drum and sing and dance, in another place we were listened to by adults who had the capacity to love and care for us.

These hot chest and aching throat feelings, the times of biting back angry tears and saying “It’s fine” have to count for something….right?”

“Morgan Possberg Denne is Two-Spirit millennial scoop and foster care survivor; with settler, Cree, Metis, and Chippewa blood connections. They have grown up in treaty 7 territory, and have relatives in southern and northern Ontario. Morgan creates imaginative, illustrative objects which could be seen as pieces of possible narratives, different ways to connect with the past and potential futures through layers of abstraction with no right or wrong answer. What matters to them is not accurately recreating the past or to predict the future, but rather to capture an inner truth and a possible alternative reality of colonial experiences. In a sense, creating new culture from a series of “what-ifs” and new stories / lore. Their work has been recently shown at the Confederation Centre for the Arts and Gallery Gachet.”

(Photos belong to me and the description and artist bio are courtesy of The New Gallery’s website)

[IDs:

1. a large wall hanging made from fish leather,

2. a close up of the same piece. the artwork has faint text cut out of the green tea tanned fish that reads “hey it’s not your fault, you know that right?”

3. a photo of the space showing a video projected onto several fish skins, a table with a vest and a hat made of fish leather, and on the table are cartons made from rawhide.

4. a coatrack on which are a rawhide hunting ruffle and rawhide fishing net resembling a badminton racket

5. a shelf seen in the background of image 3 containing a astro-turf shirt, a hand gun and pocket knife made from rawhide and a fish leather circular clip with a piece of dark hair hanging off the shelf.]

[389]

“Freedom” at MAAT museum

[manichewitz]

beauty must suffer by keron davis | link

the comments on this video when i saw it on instagram were full of lame fucks who were complaining about this being a ‘waste of pointe shoes’ which pisses me off but anyways im transfixed…the plaster statues of young dancers whose bodies are literally falling apart. the pointe shoes hanging next to a pair of boxing gloves. all the statues having pockets that show theyre hollow on the inside. the overwhelming pile of pink shoes with only a handful in black and brown. this is the first art piece ive ever seen thats about racism in the ballet world, and all of the things black dancers have to deal with in pursuit of the artistic perfection that ballet demands…goddamn. i love contemporary art. im going to be thinking about this for a while

[disease]

"DECENCY IS A RELATIVE THING" JENNY HOLZER x JON VERNEY // 2022

[miamaimania]

fully Crafted Consciousness - Nam June Paik's Reclining Buddha (1994)

[brianrope]

Watching Me, Watching You

Watching Me, Watching You

Photography and Videography Exhibition Review Watching Me, Watching You | Jemima Campey Tuggeranong Arts Centre Foyer | 8 to 29 October 2022 Jemima Campey (Ngunnawal/Ngambri lands) graduated from the Australian National University in 2021 with degrees in English and Visual Arts. She is currently completing her Honours in Visual Arts. Campey makes photos, performances, installations and films.…

[fashionlandscapeblog]

Park Hyun-ki TV Seesaw, 1984

[katecursed]

‘lonely at lightspeed’

2021

video collage of original oscilloscope art

isolation and seemingly ancient tech

[contemporary-disquiet]

FLAWS, Max Hay