Author: startind

The view from Nowhere: Dislocated, re-located, discombobulated

startind

[sic] amore

[sic] amore (© Gammie)

Hello Every Bodies

Since I am now post MA, RCA life I have to confess the life element of this statement is sorely lacking due to the fact that I have re-located (to a house on the top of a hill in the middle of nowhere that feels positively rural after living in London for 3 years). I am simply left dangling post MA, RCA……Rather disconcertingly I can actually hear myself thinking, this re-location may be good for the soul but it may also be that I am slowly committing creative suicide. Anyway to take hold of one’s dislocation, discombobulation and direct one’s dangle I am exploring those areas of my practice that somehow never saw the light of day on the MA in practice but were fully present in the thesis (Barthes, Cixous, Kristeva, Irigaray et al). I am undertaking a Social Studies Certificate in Feminism, Gender and Sexuality in Literature and the study of women’s writing and how it has engaged with, and continues to transform and challenge the politics of gender, sex, and sexuality. Continue reading →

Multiplied: Contemporary Art in Editions Fair, October 18th-21st, London 2013

startind
Breath, Photo Lithography, Oak Frame, Anti-reflective glass, 64.9cm x 50cm

Breath, Photo Lithography, Oak Frame, Anti-reflective glass,
Framed 69.5cmW x 54.5cmH, © Denise Startin Show RCA 2013.

Multiplied 2013 hosted by Christie’s, 18th – 21st October, is a contemporary fair dedicated to showcasing editioned work across a range of disciplines including Printmaking, Photography and Publications from both established artists including Bob and Roberta Smith, William Kentridge and Adam Chodzco as well as work by emerging artists. You can find the work of recent graduates of the Royal College of Art, MA Printmaking 2013 on Stand 8. The Fine Art programme at the RCA is intensely rigorous, intellectually stimulating, technically and critically demanding. The Printmaking department reflects this combining conceptual rigour, technical proficiency and intense material engagement across print, installation, sound, film, performance, spoken and printed word. A Printmaking publication, Between Before and After, was also produced alongside the degree show by graduating students 2013 showcasing text and image work and featuring critical input from Dr Chantal Faust, artist Nicky Coutts, writer Rebecca Geldard and Professor of Printmaking, Jo Stockham.

A work entitled Breath, which formed part of my MA show will be available for purchase. Breath is a limited edition (1/15) photo-litho on Somerset, there are also 10 prints available unframed 64.9cm x 50cm. Details of artists works and statements from the Printmaking graduates can be found at Show RCA, 2013. A box set of limited edition prints (25cm x 25cm) produced by final year Printmaking students 2013 will also be available for purchase. Proceeds will support the growth and development of future RCA students. For more information about Multiplied please click here. The Multiplied Gallery Guide for 2013 can be found here. Information regarding Printmaking at the RCA is on page17 of the Guide. Other exhibitors at the fair include Riflemaker, Purdey Hicks Gallery, Paupers Press, Dundee Contemporary Arts and London Print Studio.

100 Notes, 100 Thoughts, No.68 The Procedures of Love

startind
Reclaimed Antique Oak Chair, The Art of Loving by Erich Fromm

Reclaimed Antique Oak Chair, The Art of Loving by Erich Fromm. © Denise Startin Show RCA 2013

The Procedures of Love – No. 068 Michael Hardt, dOCUMENTA (13)

“To understand how love can be the central, constitutive mode and motor of politics” is philosopher Michael Hardt’s primary aim in his notebook. “The Procedures of Love” looks at love as a project with its own temporality, which involves processes of composition and decomposition. A political concept of love revives the revolutionary event and the ceremony of return, also outside the private realm. In this sense, love is examined as a phenomenon, which is intimate and social at the same time, embracing multiplicities and choreographing movements. Following Jean Genet (1910–1986), we must “open up the field” for events in a ritualized way, says Hardt, in order to introduce them and “make” them. In addition, a political connotation of the term “love” can only become effective through institutions that make the ceremonies of recurrence an experience. Ceremonies transform the temporality of events, as the recurrence of social encounter happens each time unforeseeably, despite familiar patterns.”

For an interview with Michael Hardt on the Politics of Love click here.

Text reproduced from http://d13.documenta.de/#publications/?tx_publications_pi1[details]=236&cHash=e1a46ff8d93e4312dde0787f269c42d1

“In which the patagrapher regains his rights”

startind
DS_Untitled_2011

© Denise Startin

” In the heart of the night shines the anti-glimmer – the powerful sea of all waves – of all life the sea is strong – the shadow gleams the night eats fear – the well of truth has no way out – the sea gleams with no glimmer – under the night upon the night oh clang – oh clang declang degong and boom – and clamour oh word

here we are total

inscribed in the fearless heart of the night of the flesh – and in the veins and in the nerves – of all the beasts our mothers our sisters – in the forests of our thoughts – inscribed but in living fire – eternal instantaneous – fire you tell yourself – fire you tell me – all is said but eternally

speak!”

René Daumal, Pataphysical Essays, Trans. Thomas Vosteen (Cambridge, Massachusetts, Wakefield Press, 2012), p.58-59