Language vs Form

NOTES_____OPENING WITH  Gilda Williams (is an art critic, London correspondent for Artforum magazine and Senior Lecturer on the MFA Curating progamme at Goldsmiths, where she teaches writing. Williams has written for The Guardian, Sight and Sound, frieze, Time Out, and Art Monthly, among many others. From 1994-2005 Williams was Editor and Commissioning Editor (from 1997) for contemporary art at Phaidon Press; among the books she edited there are 55+ monographs in the Contemporary Artists series, including Francis Alys, Jimmie Durham, On Kawara, Mike Kelley, and Pipilotti Rist. Authored books include The Gothic (2007) and On and By Andy Warhol (2016); Williams’ How to Write about Contemporary Art (2014) is published in six languages)

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HER STANDARD FORMAT WE CAN COPY___RESULT she says IS BORING! same same same same same can be applied to anything….

more interesting versions are…..’MY ART CAN FIT INTO A TESCO BAG’

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“The Task of the Translator” opens with a discussion of “the appreciation of a work of art or an art form” (253). Benjamin’s main argument is that the appreciation of art does not rest on interpreting its content to derive a moral or lesson from it. Art is not primarily about communication: “No poem is intended for the reader, no picture for the beholder, no symphony for the audience” (“The Task” 253). While art is clearly meaningful for the person enjoying it, its primary intention is not to inform, instruct, or even delight this person. Only after this overture into non-intentional aesthetics do we encounter translation proper: “If the original does not exist for the reader’s sake, how could the translation be understood on the basis of this premise?” (Benjamin, “The Task” 254). The counterintuitive argument that the translation does not exist for the sake of the reader who does not read the original language is Benjamin’s first step in establishing translation as an art in its own right. His second step is an exploration of the repercussions that viewing translation as an art has for our conception of the translator–whose task Benjamin is out to define: “Just as translation is a form of its own, so, too, may the task of the translator be regarded as distinct and clearly differentiated from the task of the poet” (“The Task” 258). More or less all previous theorization of this task has been directed towards establishing how the translator best communicates the original’s meaning in the receiving language, be it word-for-word or sense-for-sense; this is, in Benjamin’s eyes, a futile procedure whose best possible outcome is the “inaccurate transmission of an inessential content” (“The Task” 253). Translation should not seek to communicate the meaning of the original because the communication of its content is not in the least essential to our appreciation of it.

(Pure Language 2.0: Walter Benjamin’s Theory of Language and Translation Technology, Mathelinda Nabugodi)


Workshop with Luke Mccreadie http://www.lukemccreadie.com/

Walter Benjamin -Language

Form—-THE BLOB____(1958)

 

Cold lump

Dirty lump

Brown moist

Moulding,

Flattening,

Carving with fingertips,

She delicately pressed the sides of it’s form,

Press. Press

Is it even?

The hole pierces the surface, open and wide.

More pressing and next

Turn over.

Peeling the outer skin from the form she moulds them into useless forms.

Away, discarded lump, away.

Oh lump of clay.

Her nails look so clean next to your dirt.

You, wet sand soaked interior.

The hole forms like a mouth.

The discarded lump has now the attention it deserves. Yes, she strokes it, softly, like a pet, like the small hamster you had in it’s cage at one end of your bedroom. One of many attributes of being a young girl, the concept of care, nurture and how to deal with loss.

Like a beautiful jewel. Smoothing the edges

Oh another hole


INSPIRATION FOR____COOKHOUSE EXHIBITION___21/02/2019

TITLE: JUST TO BE CLEAR::::

Xiaojing Li, Peter Ibberson,Lulu Peng, Danica de Silva, AIice Morey, Youngeun Kim, Veera Rustomji, Pui Pui Ip, Chae Lee, Chengcheng Cao

I had a dream. The whole of the gallery was filled with weird slime, a creature that slowly consumed the entire space, destroying and killing everyone and anything in its path. Once it had settled little sprouts of unfamiliar grass started to appear in various areas.

Or

I dreamt this space filled with weird slime; some glassy creature consuming the entire world, drowning all in its path. Its purge complete, the creature settled soft and liquid over the land. Strange flowers grow where it rests.

Or

‘It’s sad perhaps but true: Because large corporations have a difficult time being transparent to their customers and employees, you, as an entrepreneur, have an advantage if you can embrace transparency. Just telling the truth, being open and honest with your staff, investors, customers, and prospects can actually give you a business advantage! At Likeable, it’s one of our core values, so the words ‘Build relationships through transparency’ greet me each time I see our strategic plans hanging on the walls.’ (13 ways to become more transparent, Dave Kerpen)

Or

Capsules of human life, cityscape contained, living spaces getting smaller, what if we lived in a world more transparent, less closed and uptight, more of a community

Or 
ALL

Just to be clear it’s a group exhibition of students currently studying MA Fine Art at Chelsea College of Arts and represents their efforts despite being constantly thrown at possibilities of change; having to make, remake and deliver.