Things I Never said to You Art Collage Text nanoxia project s review

When I was little I used to listen to an old walkie talkie I had found in the garage, bringing it into the house and curled up in the dark, I would turn the dial, tuning in and out of frequencies, in and out of other peoples lives, listening and piecing together the fragments like patchworking a giant sonic quilt, embroidered with my own perceptions of my neighbors. I wove together stories that lived on other ends of the dial into a new narrative. This is the narrative I’m always looking for- my sea of stories, the fragments woven into a stream that I can anoxic brain injury recovery statistics trickle through my fingers until it pools into an ocean and laps at my feet.

Now I walk labyrinths. Giant circles, into a swirling vortex of calm, catching sounds as I walk round and round and round, catching my own fragmentary thoughts, intermingled with the sound of the birds and crunching of stones underfoot and the soft padding of the long grass, until I can weave my thoughts into a coherent fabric, and narrative.

Today I walked an exhibition sonic arcade at the museum of art and design in NYC, and it took me back to getting out my dad’s old walkie talkie, as I gamely checked out an old transmitter radio from the front desk and walked around the museum trying to pick up noises and sounds on my prescribed bandwidth, as part of art exhibit by anna fritz.

Sadly, the radio’s didn’t pick up any coherent sounds on the frequency I was told to listen to, and none of the museums volunteers could point me towards a beacon/transmitter, each insisting there one was on the other floor of the exhibition. Despite the lovely fictional backstory as to how the beacons were found, communication completely failed as to how to access the story, and all the hard work the artist had put into the piece.

And so I scanned in the (figurative) dark, picked up fragments of jazz and whispers of static, while maybe whole diffuse hypoxic brain injury radiology stories played on other frequencies that I couldn’t hear, and instead swung on swings in the polymorphic playground and played with consoles that made fun sounds at the touch of my fingertips- some of them looking quite like my labyrinths.

Last week I was in berlin and a dear friend directed me to the hamburger bahnhof, which is an amazing art museum of contemporary art, in a train station, specifically for the route of berlin to hamburg in the 1840s. It’s a beautiful building, painted simply in whites and greys on the inside, as a fitting backdrop to the modernity of the art it houses.

Fischli and weiss’ piece “ohne titel ( fragen projektion)” (question projection) is a slide show projection of overlapping questions, fading in and out, one on top of the others, both in english and german. The technique is something they’ve used before, notably in their flower series, which was my first introduction to them as artists, and are still some of my favourite pieces. Although I did not see it, I believe the piece may have been shown at the tate modern in 2006, in their retrospective flowers & questions, producing the book, “will happiness find me?” as many of the questions are the same as the book with same title. These questions- mundane, profound, everyday worries on the minutiae cerebral anoxia definition of life as well as questions too large to answer, are all projected as swirling thoughts across a black backdrop, with only a tiny model of a bed as company. They are the thoughts rolling through our foggy brains as we stumble towards sleep, and here are witty, thought provoking and ultimately as mesmerizing as dream state, “tracking the mechanisms of the mundane.” 1

Pippilotti’s rist’s work the remake of the weekend, is both an homage to the film of the same title by jean-luc goddard, but also a comment on how we hold-up the weekend as a time to life our lives to the fullest, while quite contend to trudge through the drudgery of a 9-5, 5 days a week. The installation itself is a series of projections from the ceiling projected onto a series of pools of pebbles and sand, a reference to the emily bronte’s reflection on the pebble in the weekend. The videos themselves are vibrant and carefree, beautiful overlapping, colour burnt, over and double exposed. The ones I loved the most were simply of 2 women exploring the beach, the shadows anxiety attack symptoms of their skirt and the freedom of the wind caressing the fabric about their legs.

Showing the videos as puddles on the floor forces an entirely different viewpoint upon the audience, and presents them as more small moving paintings, than as video/ film work. Rist herself has described video as ” a painting on glass that moves, because video also has a rough imperfect quality that looks like painting… video has its own peculiar qualities, it’s own nervous, lousy, inner-world quality and I work with that” 3 and I think with this viewpoint, they indeed become paintings rather than film.

“hitler’s dictatorship differed in one fundamental point from all its predecessors in history. His was the first dictatorship in the present period of modern technical development, a dictatorship which made the complete use of all technical means for domination of its own country. Through technical devices like the radio and loudspeaker, 80 million people were deprived of independent thought. It was thereby possible to subject them to the will of one man…” 6 albert speer

The other anxiety attack symptoms headache exhibition in the space, adrain piper’s the probable trust registry: rules #1-3, is an installation in it’s own right, it seems particularly reverent, as it resonates within today’s political climate, particularly with proliferation of fake news, forcing the questions of truth and trust in the news. However, the piece was actually created in 2015 for the venice biennel. It features 3 infomation desks in which the audience can register their compliance with 3 statements, which is signed on a tablet and then printed out and given to the participant as a written contract that they have signed. Written above the desks are the statements

It’s a simple but powerful installation and it creates a bank of trustworthy people, “each individual voluntarily comm[iting] to align his or her future deeds with ethical principles such as honesty and reliability” that at the end of the nanoxia deep silence 6 review project are allowed to contact each other, if both ends wish. 7 “in this way, piper binds us together quite literally, between book covers, but also in time: anyone who breaks their promise to the agreement is somehow beholden not only to him or herself but also to the other people who have sworn to uphold it.” 8 this “database of signatories that will be held securely by the museum for a century.”9

Although joseph beuys’ work in the museum is part of their permanent collection, I was totally in awe of the pieces displayed. I have seen his work before, notably at the tate modern, as part of their permanent collection, but I have to say the explanation of his work always seemed lacking and never seemed to be a complete description of his full process ,or truly encompass the breath of the concepts of his work. Although it’s too much to go into all the beuys’ work in the musuem here, as it’s extensive, the writings of caroline tisdall, beuys’ travelling companion, which are fragmented around his work, are deeply insightful, and more can be read about their relationship and her work here. There is a book of her writings, joseph beuys: we go this way.

In a country in which the weather changes so suddenly, it’s a interesting correlation to make, and also one that personally resonates. As a sufferer of seasonal affective disorder, when living in london I needed to make sure I was living in places with ample amounts of light, without which the damp grey fog would descent into my brain and render me incapable of surfacing without extreme struggle. I never felt like myself in winter, even with hour walks in the morning to try and instill as much sunlight in me as possible. The weather was a weight, a damp that got into my bones and my brain, infecting/ affecting my daily routines and relationships with others.

Roni horn has also written and documented extensively her trips through iceland, in the books on place, from motorbiking and hitchhiking nanoxia project s review through in the seventies and documenting hot springs- both as images and also written work describing the thrill of quietly undressing in the dark to lower herself into the water that creates and is iceland; the start of portraits and you are the weather series, documentation of all the natural phenomenon of lava and rock formations in iceland, and also written about the emotional journey through iceland. She describes finding jules vernes’ entrance to the center of the earth and it’s nearby labyrinth remains both as a physical and also psychological journey, the weather a constant and influential passenger in a journey of self discovery.

Roni horn did a lot of her traveling in winter and so survival became anxiety meaning in tamil a paramount concern. Even in summer, storms can sweep in, and traveling under the midnight sun, you can forget the time and your own lack of sleep as you negotiate the windy roads (the lack of sleep alone has been putting my emotions dangerously close to the surface). But the island doesn’t care about your survival; awareness, alertness and intutivity are needed to traverse the landscape and a oneness with the weather can create an emotional walden traveling with you around the island.

Psychologist, ferryhough has discovered that each time a memory is remembered, it is recreated.”every act of remembering is an act of creation, a confabulation stitched together from an array of different cues.” sometimes with the same level of accuracy, but more often than not, coloured by emotion, or nostalgia, or simply small pieces and details misplaced or forgotten. “each act of remembering, and especially each act of retelling, subtly changes the memory itself. What we end up with is a smudgy copy of a copy of a copy[…]”*

Memory remembered, and re-remembered , mirrored to create what we define as our truth, not based on facts at all by the 10th or 12th remembering, watered down like homeopathic remedies, the memory of a herb replacing the herb itself. And yet these memories we call our truths and they can haunt us, colour our perceptions of the world and how we see our place anoxemia definition in it.

Yayoi kusana, a favourite artist of mine, started using mirrors to create her first mirror installation, phalli’s field, as she was sick of sewing phallic tubers, and thought mirrors would be a more efficient way of creating an endless landscape of them. Her mirror landscapes now form quite a hefty part of her cannon and are incredibly beautiful and also mesmerizing, in that the audience stands within them, seeing themselves reflected an infinite amount of times, losing count very quickly of how many of us are in the room.

Olafur elison is another artist working with the kaleidoscope format. I had visited harpa, in iceland, 2 years ago, as so knew him as an architect, but when looking up installations in vienna, where I thought I was going to visit this summer, I saw images of his kaleidoscopic art works that were installed in the the winter palace of prince eugene of savoy palace between 2015-2016 in an installation called baroque baroque.

He has said his artwork is more about seeing-oneself-seeing or sensing-oneself-sensing that creating objects, ” about trying to introduce relationships between having an experience and simultaneously evaluating and being aware that hypoxic ischemic encephalopathy icd 10 you are having this experience. It’s not about experience versus interpretation but about the experience inside the interpretive act, about the experience itself being interpretive.”** in that way, he is interested in museums co-producing spaces with the audience, co-creating within an installation**, a concept I find very intriguing, and also very important as an audience member to feel fully engaged in an art form. The idea of a active participant is one that resonates with me- it’s why I started creating installative/ immersive theatre***, and why I wrote my B.A thesis on film that calls for an active viewer.

It’s also probably why I admire his work so much, it creates a world to co-habit, and each individuals response will be different, but everything I have seen has become reflective, both literally and figuratively. He “employ[s] shifting frames of reference that are shared with science, psychology and architecture” so that “experience and perception, rather than a supposedly unmediated thing-in-itself, have become [his] elusive subject. “**

Monir farmanfarmaian is another artist primarily working with mirrors and reflections. I first saw her work in the V & A in london, over 10 years ago. She is an iranian artist, who grew up around traditional mosaics, but only after living out of iran grew to appreciate the skill of the glass cutters and the work that goes into creating them. She has inverted this tradition, creating something new, out of something ancient, creating mirror balls and geometric designs that are more modernly anoxia e hipoxia minimalistic.