ART FOR HUMANS is moving forward on multiple fronts.
AFH and The Society for the Prevention of Creative Obsolescence have been excited to host the wall painting by Shane Kennedy at AFHStudioBK2013 (@Brooklyn Fire Proof). Shane continues through June, refining the painting. A vernissage~closing is in the works [TBA]. We want to do something before the end of the month, when this iteration of AFHSBK is completed. Also, Shane is preparing to venture again on the Hippo - destination Romania - and the departure date is fast approaching.
Bold, Jez continues to generate a cornucopia of ana-culture. Above is a teaser for a proposed exhibit at Good Faith Space [details TBD]. Here's a quote from the transmission/proposal:
Here's a sampler of Isham's images:
Perhaps a little art world context would be valuable here. The Venice Biennale, Art Basel, Documenta - the arTroika or arTrifecta - are all on for summer of 2013. Here in Bushwick, BOS2013* earlier in June conclusively proved that at the moment this is the premier production of its type in the world.
To dimensionally situate GFS and SftPoCO in the overarching art-schema is to discern the topology as concurrent macro- and micro-phenomena unfolding IRL. It is to recognize that autonomous quality of artist-borne action relative to institutional flows or currents. It encourages analysis of creative possibility, and/or probability. The qualities of inertia, momentum, as framed in negative or positive terms, can be applied to gauge value of the particular, and the general meaning of contemporary art, as long as we have plenty of data for our assessments. Then, there is the perceptual, and there is the social, which amount to ephemera, conjectures, avoiding concrete determination. Even absent hard facts in the ethereal arena (of ideas, of sense, of feeling, of taste), we must be aware of the legitimizing nature of such markers, as experiential color.
We can see that at points the macro- and micro-worlds converge. The resulting events may be confusing, even violent and seemingly unexpected or unexplainable, within the provisional narratives established directionally (e.g., top-down, or bottom-up) by the players. Dimensional perspective often renders the befuddled reaction moot.
AFH is networked into nodal processes that include production, concept development, research, prototyping, progressive discourse, as a systematic 4D program. Presently, we are engaged in numerous instances of each form of application. GFS, SftPoCO and OAS derive from and build on one another. Sub-programs, such as The Book, our Reading, Performance and Screening Series, Artist Talks, Actions, Expos, Publications (virtual and actual) could be thought of as a continuum. It is not sufficient to characterize the modality of artistic realization we embrace, describe and demo simultaneously as a "practice," to use the stylized term often employed in the domain (incorrectly, in our case). Our methodology is better defined as function+utility, or with an exotic influence, we might call it the 4D Way.
Given an even more expansive context for collective and individual creative undertaking(s), which in a 4D production must be acknowledged, in order to establish a real platform, we discover an infinite set of content from which to draw. It should be obvious why a dimensional artist like Eric Leiser is so valuable at this stage of our 4D[®]evolution. Holography is probably the best object-based instructional device available to us for illuminating ourselves as a phenomenal occurrence, as such. Where-it-is and where-it-isn't for the purposes of effect hardly matter to the perceptual complex. We can "SEE" a matrix that moves. Virtual means provide some measure of instrumentation along these lines, but until that instrumentality migrates into the material aspect, we have stronger illustrational options.
It might seem to a casual viewer or analyst, as though the constellations of phenomena unfold in an irrational movement. Actually, the rational is not enough to comprehend the thing. With apologies for and to Spinoza, linear and finite mathematics are facing their own obsolescence, as the emergence of dimensional number systems (all-directional) materialize in the perceptual complex, in the general awareness. This is what is happening to every such recursive, static and minimal set system, institution, complex, anyway. There is no stopping it, but that won't prevent some from trying. Those with the most to lose in the new arrangements will fight the hardest against the emergence of 4D existence. Those with the least to lose (or most to gain) will be readiest to accept the dimensionally ordered/disordered/reordering world. Neither bunch has the power to control or command it. While it's premature, if not delusional, to declare extraction and exploitation regimes "a thing of the past," technically it's true. Then, one might ask, what's next, and the other one might answer all-at-once.