Archive
| ISOLATSIOON
/ ISOLATION Mõtte- ja keskkonnakunsti talgud / International art event: Mooste, Põlva maakond, EESTI August 6-15 2004 |
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| Marcus Williams : The Party | |||||
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Eesti
keel bla bla siin...
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Marcus
Williams came all the way from Auckland to be the summer artist-in-residence at
MoKS. You can read more about his short but highly prolific visit here.
One of the highlights of PS4 was Marcus's performance, 'The Party',
which turned into a great party.
Artist Statement for ‘The Party’: “ Visiting Mooste is like walking a timeline of modern Estonian history. Before reaching the brick and concrete ‘Culture House’ and the small grid of Soviet multi storey apartments, one strolls past lovingly kept gardens which surround old cottages. Each independent and private with the murmur of modern Estonian coming from an open shed door. The beautiful lake comes into view on your left, more tree lined road, then the 19th century German manor and the splendid brick and stone architecture associated with the Barons feudal agricultural empire, complete with Vodka distillery. The Germans Lorded it over the locals for some 700 hundred years apparently. Past this; a kind of Soviet style horticultural-slash-industrial graveyard with more rusty silo’s, broken tractors and cavernously derelict factory type buildings than an X File episode set in the Ukraine. The average wage is pretty low in newly appointed European Union member Mooste. Employment prospects are…marginal. Somehow parking the beat up old Belarus tractor at the top of the faux baroque steps to the imposing and incongruous manor seemed to sum up the situation quite well. Especially when one invited 30 odd artists from mostly all over Europe to ‘The Party’ to drink imported Russian champagne, dress and behave flamboyantly egged on by the hunting idle if the Belarus, ‘miked and amped’ for musical accompaniment. Let ‘em eat cake.” |
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MARCUS WILLIAMS : Uus Meremaa
Marcus Williams on installatsioonikunstnik, kes elab ja õpetab
Uus- Meremaal, Aucklandis. Heli, fotot ja digitaalseid kujutisi kaasavate
installatsioonide abil on Marcus Williams avastanud teemasid, mis tegelevad
isiklike emotsioonide ja ühiskondliku ala dialektikaga. Selle käimasoleva
uurimisprotsessi rõhk on erinevatel kujutamisviisidel: fotomeedia
kommunikatsioonivahendi ja silmana, mille rolliks on aktsepteeritud käitumiskoodide
(n. seksuaalsuse esitamine) või kultuuriliste ja üldinimlike
hinnangute (ettekujutused ilust, ihast) levitamine
Williamsi installatsioonid ja kujutised ekspluateerivad fotograafia primaarset
positsiooni tähelepanu tagamisel, mis vaatemängu (age of an
spectacle) ja info lauspommituse ajastul on väärtuste ja mõjuvõimu
keskseteks küsimusteks.
Laias laastus on Marcus Williamsi Moostes kavandatava projekti eesmärgiks
otsida võimalike sidemeid Uus Meremaa ja Eesti muusikaliste traditsioonide
vahel.
Isolatsiooni uurimine käib läbi muusika. Laulude edasiandmine ühelt
põlvkonnalt teisele vastandatuna globaalse muusikatööstuse üha
kasvavale ühtlustavale mõjule.
Lähtealuseks on arusaam muusikast kui sügavalt individuaalsest
nähtusest. Sotsiaalses tähenduses võib heli, rütm
ja muusika olla isolatsiooni vastumeede. Muusika tegemine ja kuulamine
gruppides jääb põhiliseks inimlikuks vajaduseks, mis
toimib palsamina indiviidide ja sotsiaalsete gruppide eraldatusetunde
vastu.
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MARCUS WILLIAMS : New Zealand
BIO
Marcus Williams is on audio-visual installation artist who lives and
teaches in Auckland, New Zealand. Through installations involving sound, photography
and digital imaging, Marcus Williams has been exploring various themes
concerning a dialectic between personal emotion and the public
domain. This ongoing investigation has a strong emphasis in various photomedia,
both as a medium for communication in the work and with an eye to its
role in the mass dissemination of accepted codes of behavior (i.e. display
of sexuality) and judgments about cultural and human value (i.e. notions
of beauty or desire). Further to this, the installations and images exploit
the primary position of photography in the granting of ‘attention’,
which in an age of spectacle and information bombardment is central to
issues
of value and influence. This investigation of the semiotic and liminal
function of photographic representation and the repressed aspects of
its influence in the late
capitalist context is carried out through a number of recurring themes,
one of which is music.