Showing posts with label worlds in collision. Show all posts
Showing posts with label worlds in collision. Show all posts
The last broadcast (video)
You can download the files from the Internet Archive here...
...and to see all the videos go here...
The last broadcast
Bob Georgeson, The last broadcast, 2015, Mixed media
Apocalyptic perhaps? Video to follow soon. An ending you would
Je suis Charlie: four points of a compass (a view of the world)
Bob Georgeson, East, 2015, Digital print
Bob Georgeson, West, 2015, Digital print
Bob Georgeson, North, 2015, Digital print
Bob Georgeson, South, 2015, Digital print
Bob Georgeson, Four points of a compass, 2015, Digital print
Happy New Year! Not. Last year ends with mindless violence in Martin Place in Sydney. This year begins with it in Paris. These photos seem to sum up the situation. I have generally avoided politics in my art and on this blog (Twitter is a different matter if you want to follow me). There have been a few exceptions: the Worlds in Collision series and the Why is this happening? video to name two, but it does raise the question of whether there has been (or perhaps should be) a link between politics and art, and ultimately what purpose that might serve. And do artists have a responsibility as the eyes of the world to address the socio-political situations that we find ourselves in?
I don't have an answer for this any more than I have a solution to the Islamic problem, or any other issue you choose to pull out of the hat. What I do know is that silence and a reluctance to, or fear of speaking out against injustice will always play into the hands of the perpetrators. And so we set the tone for the year ahead...
In decline
On a recent visit to Sydney I was struck not only by the unsustainable growth of the metropolis, but in particular by the 'dehumanizing' experience of the M5 motorway tunnel, where one is shot down into the darkness (I must admit the first 300 metres caused by leaving on my sunglasses) and propelled like an electron in a particle accelerator toward an uncertain future accompanied by a soundtrack of engines, exhaust pipes and roaring extractor fans.
Late last year I came across a delightful blog that intersected with this experience and it seems like a fitting start to the new year to bring it to your attention. In decline is described as "straddling the line of decay and eroticism" and lists as its interests industrial decay, wastelands, machinery, disorder and of course the erotic. A recent post:
Spare Ass Annie
When I became captain of the town, I decided to extend asylum to certain citizens who were persona non grata elsewhere in the area because of their disgusting and disquieting deformities. One was known as Spare Ass Annie. She had an auxiliary asshole in the middle of her forehead, like a baneful bronze eye. William S Burroughs
Force of Resistance, Stress, Heat, Collapse
Deformity is contrary to expectation. Horror of the dysmorphic invokes the notion that formal conventions are somehow correct and keeps with the classic aesthetic principles. The revolting appearance of a functionally specific aperture, wets the appetite.
Simple deformity breaks no internal rules, it is aberrant for compromising only exceptions. One can violate conventions without appearing deformed, it is only understood as the violation of what is expected or accurate.
Late last year I came across a delightful blog that intersected with this experience and it seems like a fitting start to the new year to bring it to your attention. In decline is described as "straddling the line of decay and eroticism" and lists as its interests industrial decay, wastelands, machinery, disorder and of course the erotic. A recent post:
Spare Ass Annie
When I became captain of the town, I decided to extend asylum to certain citizens who were persona non grata elsewhere in the area because of their disgusting and disquieting deformities. One was known as Spare Ass Annie. She had an auxiliary asshole in the middle of her forehead, like a baneful bronze eye. William S Burroughs
Force of Resistance, Stress, Heat, Collapse
Deformity is contrary to expectation. Horror of the dysmorphic invokes the notion that formal conventions are somehow correct and keeps with the classic aesthetic principles. The revolting appearance of a functionally specific aperture, wets the appetite.
Simple deformity breaks no internal rules, it is aberrant for compromising only exceptions. One can violate conventions without appearing deformed, it is only understood as the violation of what is expected or accurate.
Eric Tabuchi, Anatomy, 2006, Photography
NOTE: Sadly this blog has been recently removed...I have decided to leave this post anyway as an inspiration to myself if not others...
Macedonian Madonna
Bob Georgeson, Macedonian Madonna, 2013, Digital photography
One from the 'Worlds in Collision' series...
Worlds in Collision
Worlds in Collision is a project I have been working on this year. I have been photographing and videoing images and segments from foreign language (well, at least foreign to me) TV news services from Serbia, Croatia and Macedonia. I have a fascination with this part of the world that seems to have had more than its fair share of troubles, whether it be from invaders like the Mongols or Crusaders, or internal conflicts between neighbouring peoples.
This is the first of my video experiments that I am reasonably happy with. I had originally conceived a more menacing soundtrack, but I never tire of listening to Herbie, and it just happened to fit the length of the timeline...
There's no time like the virtual
Bob Georgeson, Worlds in Collision #1, 2012
Ines Rojas, Director of the Museu d'Art Virtual de Barcelona, stands in front of Worlds in Collision #1, a six-channel digital video installation at the 2012 Barcelona Biennale...