I saw this on morthouse.com
very carefully made. unlike this of mine
CIRCULAR TAXIDERMY brought up this from here
Crystal Bead Taxidermy by Kohei Nava
from crap taxidermy by Kat Su (artist unknown, Beijing)
My mum and dad recommended this one. They encouraged my inclination to bury, then exhume, beasts to see what their skeletons looked like.
My good friend Steve Ford suggested I visit the Huntarian museum. His sister (I'm sorry I've forgotten your name but I remember you) worked for the Royal Collage of Surgeons and I walked in one day to have a look. There was no information when I first visited - just specimens and numbers. Now it is presented as a museum. It is an extreme collection of oddities. The feeling I get when I face these no-longer-living entities, in all their strangeness, is uncanny.
pale serious embryos
It is splendid. I've not found images of it as it was previously.
In our museum - we always go there on Sundays -
they have opened a new department,
Our aborted children, pale serious embryos,
sit there in plain glass jars
and worry about their parents' future.
GRASS,Gunter. Selected Poems, Great Britain. Penguin Books, 1969
The space for freedom is getting smaller
I thought this piece was excellent. I'm thinking how identity politics push and close boundaries.
This work wasn't discussed but I was interested to find it.
In Occupation I, II, Ashery is wearing a rabbit mask whilst masturbating to a collection of images from the Argus catalogue, porn and images form military occupations, in particular in Palestine. The masturbation is mechanical and there is never a climax. The piece is looking at the voyeuristic fascination, on the one hand, with images of war and on the other the numbness in which we experience a culture over-saturated with images.
The performance was shown along side the video Occupation I, II where the idea of an occupation is that which inhabit the inner core of one’s body and mental psychic.
Next to the rabbit a performer dressed as a generic soldier performed various acts depending on the location. In Zagreb the space was divided into an intimate white space where the audience went in one at a time, the live feed camera held by the rabbit was documenting and projecting the ‘porn’ as well as the participants’ gaze into the second space. In the other space, a social space, drinks were served whilst people watched the live feed and the video. The soldier was encroaching on people’s personal space. The soldier was used again in this way in Welcome Home | A Gathering.
Occupation I, II was performed at 291 Gallery, London, Hull Time Based Art, Hull, T1&2 Art space, London and Galerija Matice Hrvatske, Zagreb.
Interview: Cherry Smith, part of a publication for Occupation I, II, Galerija Matice Hrvatske, Zagreb, 2003, curated by Kontejner
the hauntological unconscious: an interdisciplinary investigation of early twenty first Century uncanny
My friend, who knew I did taxidermy because he cleaned my windows and looked in and saw dead things, preserved, a fox head in salt. He did a great job but the ears slipped. He gave it to me to do something with.
I'd been out with the children to antiques emporiums at the weekend, looking for spectacles. They were quite happy with the head. I didn't find specs but I did remember that I had some at work that used to be my grandmother's. They'd been in the prop store.
I'd already decided I wanted the fox to have one eye stuck on specs as my friend Andy Eccleston had given me a glass eye
My daughter agreed they were good glasses for the fox.
My daughter was vaguely disinterested and mildly amused that I used some of her old boots,
and quite liked the swim suit. I'd used it as it was the only thing I could think of that might fit. I wanted a faux leopard skin coat. As I'd used my grandmother's specs, I remembered I had a top that was a little like a suit she used to wear.
I got a little jolt of familiarity from it. My daughter said it was creepy. Are robes creepy? Can daughters detect when mothers suddenly remember grandmothers? Was she humoring me?
what's the name...Beyonce Bartleby?
Renato Giuseppe Bertelli, Continuous Profile (Head of Mussolini)/, 1933, courtesy of Imperial War Museum
cognitive dissonance, intellectual uncertainty, familiarity and strangeness
Defamiliarization or ostranenie (остранение) is the artistic technique of presenting to audiences common things in an unfamiliar or strange way, in order to enhance perception of the familiar. A central concept in 20th-century art and theory, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, it is also used as a tactic by recent movements such as culture jamming.
Defamiliarization of that which is or has become familiar or taken for granted, hence automatically perceived, is the basic function of all devices. And with defamiliarization come both the slowing down and the increased difficulty (impeding) of the process of reading and comprehending and an awareness of the artistic procedures (devices) causing them. (Margolin 2005)
The term “defamiliarization” was first coined in 1917 by Viktor Shklovsky in his essay “Art as Device” (alternate translation: “Art as Technique”) (Crawford 209). Shklovsky invented the term as a means to “distinguish poetic from practical language on the basis of the former’s perceptibility” (Crawford 209). Essentially, he is stating that poetic language is fundamentally different than the language that we use every day because it is more difficult to understand: “Poetic speech is framed speech. Prose is ordinary speech – economical, easy, proper, the goddess of prose [dea prosae] is a goddess of the accurate, facile type, of the “direct” expression of a child” (Shklovsky 20). This difference is the key to the creation of art and the prevention of “over-automatization,” which causes an individual to “function as though by formula” (Shklovsky 16). This distinction between artistic language and everyday language, for Shklovsky, applies to all artistic forms:
The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar,’ to make forms difficult to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. (Shklovsky 16)
Thus, defamiliarization serves as a means to force individuals to recognize artistic language:
In studying poetic speech in its phonetic and lexical structure as well as in its characteristic distribution of words and in the characteristic thought structures compounded from the words, we find everywhere the artistic trademark – that is, we find material obviously created to remove the automatism of perception; the author’s purpose is to create the vision which results from that deautomatized perception. A work is created “artistically” so that its perception is impeded and the greatest possible effect is produced through the slowness of the perception. (Shklovsky 19)
This technique is meant to be especially useful in distinguishing poetry from prose, for, as Aristotle said, “poetic language must appear strange and wonderful” (Shklovsky 19).