Disremembering

10/12/2021

Serendipity, coincidence and synchronization-chance, chaos, randomness-unpredictability: how do they connect with artistic research?

But we do understand that human creativity benefits from such mental mutations.

At Disremembering Kepes we are also exploring the role of serendipity, coincidence and synchronization as the ideological skeptics discourage serious inquiri...

08/04/2021

Isamu Noguchi -landscape artist, sculptor and a "Listener of stones" had presented a fountain project for a courtyard at MIT via Gyorgy Kepes and I.M Pei. The project remained a vision because some structural problems were envisioned.

As we dis-remember Kepes and Noguchi we think of what Noguchi himself said when he visited Japan-" Whatever quality my work now has is I hope, that of nature. The subject is nature, its pathos or grandeur. There has I trust been a minimum of the imposition of will and thought. The medium which is the earth itself has its own way-and the fires of the kilns burn away my petty prides."

Noguchi's water-stone projects are in abundance all around the world and thus he was aptly called the poet of water and stone.

Have you ever been curious to learn how works of art get into the galleries? Behold the trials, frustrations, and unique satisfactions of presenting art to t...

07/20/2021

Disremembering the push and pull between Gyorgy Kepes and Robert Smithson and the act of discovering new limits.
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Smithson began formulating his ideas on earthworks in 1966 while working for the Dallas Fort Worth Airport company. He thought it would be interesting to build large scale earthworks on the fringe of the airport.

He then worked on his Spiral Jetty (1970) on the Northeastern shore of Great Salt Lake. Smithson said of the piece ..."the piece like the others tends to be enclosed, with a sense of containment. Each time you put down a work, even though it is caught up in a non objective process there is still the vicinity of that activity going on....the Islanding situation even with the prehistoric things gives you that sense of limit. The point where you drop a rock into the water, radiates out and dissipates..."

Visually this is where we are in the Disremembering Project.

The molecular lattice of ideas are growing. Seemingly structure free and self perpetuating...but the limits are there.

Thank you Roger Malina.

in 1971, american artist robert smithson carved ‘broken circle/spiral hill’ into the shoreline of a former sand mine near the city of emmen, in the netherlands. the monumental land art piece, which marks smithson’s only extant earthwork outside of the US, consists of two parts: ‘broken circl...

07/12/2021

Trapped between forgetting to remember and finding the science:

07/08/2021

Disremembering Gyorgy Kepes via Gediminas-artist, educator, researcher and co-founder of US: Urbonas Studio (together with Nomeda Urbonas), an interdisciplinary research practice that facilitates exchange amongst diverse nodes of knowledge production and artistic practice in pursuit of projects that transform civic spaces and collective imaginaries.

"Public Space? Lost and Found," a new book by Gediminas Urbonas, an MIT associate professor and artist, looks at our need for public space as a forum for political expression and basic humane solidarity.

06/29/2021

As we remember Gyorgy Kepes "differently" we revisit James Joyce's Finnegan's Wake as a attempt to remember and the failure inherent in the process. The event of memory in Joyce functions primarily in two ways: first as an inaccessible initial memory and then as transmutative shift into a new form of memory.

The forgetting-for Joyce..enables the possibility of remembering

Differently....

So today we remember revolutionary artist Liliane Lijn's works starting with Neurographs.

Liliane says "In 1969 Sinclair visited me in London and showed me Deliria, the notebook he had written while in David Cooper's psychiatric clinic. In response I showed him the most recent collages I had made with electronic symbols and he asked me whether I might illustrate Deliria. I agreed, since I thought I could create poignant metaphors for mental disturbances using electronic symbols relating electrons to neurons. I thought of the brain as an electro-chemical system, a kind of organic machine. I found that using these delicate symbols, code for control and use of the flow of electrical energy, opened up a whole imaginative field for me. I called them neurographs."

We are connecting and disconnecting dots to remember universes of images immaculately distilled in pure light.

06/19/2021

Featuring the arts curriculum at MIT. Program host Bob Edwards introduces NPR reporter Phyllis Joffe who speaks with: Ellen Harris, the first person named associate provost for the arts at MIT; Felice Frankel, MIT's first artist-in-residence in the sciences; music Professor John Harbison; associate professor of music and media Tod Machover; Nobel Laureate physics professor Jerome I. Friedman; and three MIT students.

Stanford Libraries' official online search tool for books, media, journals, databases, government documents and more.

05/25/2021

Jürgen Claus is an artist who works with greatly different techniques, like painting, film, light, or underwater installations. He is particularly known for his solar installations. His interest lies in cross-over of technology and art. He worked as fellow and research affiliate at the renowned Center for Advanced Visual Studies at MIT in Cambridge, MA, USA. He now lives and works with his wife Nora in Baelen, Belgium, where he is the director of the Centre Overoth.

Today we disremember Gyorgy Kepes via the imagination of Claus who shared deep connections with the Hungarian artist through the floating architectures and liquid paintings in his works.

Thanks to our chief Imaginator Roger F. Malina for introducing Claus to us.

05/07/2021

According to Thea Brejzek- Professor for Spatial Theory at the University of Technology Sydney, Australia, the model as object and idea plays a prime role in the design processes of architecture and theater.

(https://youtu.be/b3HHGCuyeEA)

The performative and reality constructing dimension is essential to the generation and representation of ideas.
"Ideating" Disremembering has been a highly fascinating process. Roger F. Malina constructs a free space for Thom Kubli and myself to engage in an abstract theater or architectural space model full of inclusions, rejections, corrections, optimizations to come up with multiple sets of aesthetic representations.
Where are we headed in this project? Maybe Charles Simic says it best:

In the inky forest,
In its maziest,

Murkiest scribble
Of words

And wordless cries,
I went for a glimpse

Of the blossomlike
White erasure

Over a huge,
Furiously crossed-out something.

Sooner or later, we will know...till then we are just following the dots.........

04/04/2021

What is memory,
nothing but a comet's tail,
leaving traces...

Every memory we have is finally of ourselves. If the memory of an experience is flawed, there is a rift in the continuity of self. There is less of us with e...

04/01/2021

When you are not here, everything becomes dance-
no abstraction,
just raw simplicity....an endless confusing madness where graphic symbols become a perception in the mind...
Why do we remember people as faces, two eyes-the sound of the last words they said...
Connecting with the pixels in the Appeel
http://www.richardthe.com/appeel/

03/17/2021

Kepes early recognized that his commitment to the effective interaction of art and science would mean finding a personal key--a way of keeping a hold on social issues of disruption and alienation.

Un-learning to figure what's next.

Through the fuzz of the peacock feathers-his attempts to bridge the chasms between science and art.

Recalling Kepes' Floating Mirroring Buoys (http://act.mit.edu/cavs/item/cavsdf_kepes_g_Sact-office16110910330)
and ages later in a totally disconnected un-learned way, Thom Kubli's Orbiting (http://thomkubli.net/orbiting-project/).

As we explore the outer spaces of disremembering Kepes, we learn about the future of art in microgravity.

At the present moment, our thoughts are plastered on window sills......