Anhoek School: Revolutionary Year 222: Course: Class 8

CRITIQUE THE STUDIO

PHYSICAL DIRECTIONS:
1. Install all videos (on your laptop)  and photographs (black and white standard printer paper printed flush (no borders)) produced for this course to date. If you do not have a laptop, check out a loaner from the ‘tech shack’ in advance. We shall not use photo paper because these are studies (versus economic objects with archival pretensions).
2. The first person to arrive determines the install, placing their laptop in the center of the room. All other works establish their relation to the first object accordingly.
3. The photographs will operate similarly. The first person will install their photo/photos in the center of a cleared wall. All following works will be installed in relationship to the first. All shall be  flush to one another. Bring an adhesive that attaches to the back.
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QUESTIONS
To be answered collectively:
1. Room. What is room? What are the qualities of this room (emotional history, cultural baggage, economic residue)? What are the quantities of this room (scale, light, air)? How do they touch your object and how does your object touch back? Wait, does the object have its own agency?
To be answered with movement (not words):
1. You have made a clearing for your object…a clearing for the gaze. You wish for a body to approach and stop and stay. Another object stumbles/directly squats in the path of yours. The intervention burnishes and you deepen it? How? The aggression destabilizes your work, you act?
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SELF-INTERVIEW, Self-Studio  (in class writing exercise)
1. Do you have a room of one’s own (Hi Virginia)? Do you have a studio that is a room independent of all other functions? What suffers if the studio is not also the bedroom/studio, the kitchen/studio. the bathroom/studio, the garden/studio, the garage/studio? What is gained? What is the vault/hanger/factory sized studio render? Whom is it in service to? Who are you in service to?
2. When is your body the studio? Can you set up shop in the earlobe  as does Joe Sola (http://www.laweekly.com/publicspectacle/2013/10/11/gallerist-displays-paintings-inside-her-own-ear), but is that more than stunt? (Forgive me, perhaps all you crave is stunt; art as spectacle.) Does one make  work on the clean plain of your back (Yang Zhichao’s Planting Grass); is the forehead also a terrifying studio (http://cabinetmagazine.org/issues/28/turner.php)?
DOUBLES (interview between two students, conducted in front of class three times): Ideal means of production
1. Why call art ‘production’? If we evoke the team, why do we make work alone? What happens when we make work together- when the room is full of texts and butts and red bulls (communication that exits the room, stimulants, demands)?
2. What conditions do you need to think deeply? What must happen for you to generate complex positions, emotions…? What sort of space does it take for you to be vulnerable?
3. How will you engineer/forge these spaces within this campus infrastructure?
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