#vibrantmatter

[eklektikos-jshu]

Autumnal leaves in Mountain View Cemetery. Oct. 2022.

[anettamonachisa]

One Are (2021)

100m2 sculpture, soil cast

An are is a unit of area in the metric system, equal to 100 square metres. Today, its multiple, the hectare (which equal to 100 ares), is the principal unit of land measurement for most of the world.

Departing from this basic unit of measurement I transposed one are of land into a 100 m2 floor sculpture. It is a three-dimensional impression of a field used for agricultural purposes, from the South of Slovakia. 

The size and the shape of the work refer to ancient patterns of territorial delimitations, land appropriation and ownership claims, political agro nomy, soil governance policies, crops, framing, outside-inside dictates and this one unit of measured area sets us back to the beginnings of colonization practices. Among the first ancient colonizers, the Romans, in order to divide and allocate the conquered lands, delimited the fields to be divided in lots. The ancient land surveyors (called gromatici or agrimensores) and the Roman system of property boundaries are fundamental to both agricultural and Civil Engineering as we know it today. 

Their most common method of land division was based on the so-called “centuriated grid system”. Centuriation is the act of dividing land into centuries (hundreds) or equal areas — an inherited division pattern, which, translated into metric units, results in “ares” and “hectares”, which we still use in cadastral and agricultural divisions today. The grids consisted of boundaries, often roads dividing the territory into big squares or rectangles, which were then again divided into the individual parcels. The use and purpose of this rigid structure was manifold. It allowed for a kind of ancient zoning of the territory and facilitated the administration of property and the management of tax collection. In other words, it allowed for turning land into capital. The practice of centuriation was not only a system for dividing the land but also a political possession and control of the territory and a conceptual appropriation of the landscape. The installation visualizes the modern persistences of the ancient agrarian territorial boundaries.

The work emphasizes the institutional frame of land and the material constitution of soil at the same time. Based on an investigation of the relationship between the technique and the context (a three-dimensional imprint of the land, that remains ambiguous), the sculpture ensues from mapping of the records of agricultural work, markings and interventions into soil, remnants of cultures, tilling, cracking and erosions. So, the all the imprint pieces are some sort of memories or memorials (commemoration/materialization of what is "not there") and forming the formless. 

Earth is a material that doesn’t actually have a recognizable form. It can be moulded ad infinitum, it constantly changes shape – hydrated, pressed, spread, rolled, tilled, compacted, thumped, torn, cracked, joined again, dried, ripped and hydrated again. The human intervention into soil and the cycle of the seasons impose their rhythm and shapes on the landscape. Because of its malleability, its endless morphing, drying and moisturising, earth is a material of endless possibilities.

The realisation of the work was supported using public funding by Slovak Arts Council.

[victorariasart26]

Vibrant Matters - Idea #1: Clocks

[planettamona]

Verbing the Material: plaster cast with efflorescences

(from the growing sculpture series) 

re-imagining materials

2019

[inthenameofthebody]

fav book of 2021 

[only-theessentials]

Chatting with an actant

[vinyldinosaur]

B.O.R.E.D.G.A.Z.I.N.G

B.O.R.E.D.G.A.Z.I.N.G is an ongoing project dealing with the current circumstances in Europe. Now the impact of web technology in our daily lives is greater than ever before.

In our performance we use Zoom to connect ourselves - Olga Uzikaeva in Belgrade and Jolon Dixon in Berlin. Zoom was originally intended for business communication. In these present times, it has become a social space and a medium for performance and art. Many performers engage with audiences and most of us feel the need to be social and fill up our time.

In some ways, Zoom replace aspects of ordinary life through microphones and cameras. We become close and make hybrid spaces; Our windows sit next to each other and the backgrounds are often intimate. A group video chat becomes a collage or jigsaw puzzle made of our living rooms, kitchens and bedrooms.

On them other hand, it can be distancing: there is lag, the glitches of data compression and echo correction and the transformation of our presence through microphones, lenses and circuitry into 2-dimensional digital images and monaural sound, which can remind the viewer of the spaces and temporality of cubism.

We explore our hybrid Zoom space with movement, sound and objects; It is a virtual site-specific structured improvisation where we play with our bodies and sounds being broken into parts and then reconstituted by the computer and the viewer. Through a self-imposed grid, we make our limbs bend and objects glide through algorithms and games and respond to our failures to follow these rules we push onto ourselves. How can we make true contact with each other within these systems? How can we take pleasure in being out-of-sync?

[anaissenli]

Anaïs Senli

The Heavy Air That Surrounds Us

1.11.2019 – 12.1.2020

Opening: 31.10. from 19 Uhr

Curated by Lena Johanna Reisner

Microscopic beings moving with the ocean currents are generally referred to as plankton. They are scarcely recognisable by the human eye, but the cycle of life cannot be imagined without them. They are the essential foundation of the food chain of marine ecosystems, and are responsible for biochemical processes vital to life, such as photosynthesis.

Cyanobacteria, too, are involved in photosynthesis. More than three billion years ago, they developed as one of the first forms of life in a climate with almost no oxygen. By using photosynthesis to harness light and transforming CO2 into oxygen, they gradually changed the composition of the atmosphere. Through the symbiotic processes of these early forms of bacteria, increasingly complex forms of life began to develop.

Today, meaning since industrialisation and the technological development of fossil fuels, vast quantities of CO2 are again being released. As a consequence, we are experiencing rapid mutation in the global climate, leading us to question life as we know it. At the same time, the majority of oil extracted today came originally from ocean microbes – that is, plankton – and dead biomass, which is broken down and compressed over millions of years, loaded with energy from the sun.

The Heavy Air That Surrounds Us points towards the agency of micro-organisms, rethinking the materiality of our world. Can we imagine a world beyond humanity? The journey to the origin of life takes us to the dimension of geological time, and in doing so, it brings us to contemplate the very fragile nature of our present.

[cvpeterson]

New series of interest— metaphysical romance ... Might not be the right term, but hell Here is my love letter/poem to a snowflake . . . #WIP #Poem #LoveLetter #Typewriter #MyDarlingSnowflake #MetaphysicalRomance #Art #Artist #Love #Live #WisconsinArtist #VibrantMatter #❄️ (at Wisconsin) https://www.instagram.com/p/BtlvZyLFri0/?utm_source=ig_tumblr_share&igshid=nvxz0tbqgkbd

[nlhuillier]

Lab installation #workinprogress #sound #space #experience #art #science #embodiedcognition #vibrantmatter #spacesthatperformthemselves (at MIT Media Lab)

[eklektikos-jshu]

A riot of colours in Mountain View Cemetery, Vancouver, Autumn 2021 (photo taken by me!)

[anettamonachisa]

2020

[victorariasart26]

Vibrant Matters - Idea #3: Trees

[sadisticscribbler]

@Regrann from @littlebeast.nyc - yeah, we yoga ~ via:@zeitguised #vibrantmatter #motiongraphics #digitalart #littlebeastart #littlebeastnyc #Regrann http://about.me/SadisticScribbler

[studiodormant]

“...perhaps hoarding is the madness appropriate to us; to a political economy devoted to overconsumption, planned obsolescence, relentless extraction of natural resources, and vast mountains of disavowed waste."