These are stills from a video of my parents describing the lives they could of had, if they remained childless. C. Wisdom 2019
This is a still from a video of my parents. I asked them about their experiences with race and prejudices. The video aimed to highlight their contrasting experiences, however the results showed some endearing similarities and how their relationship has altered and shed light on their individual experiences.
Performance by Jordan Bennett 2012
Materials: Tattooing, Technical equipment, film screening of Kanehsatake: 270 Years of Resistance and Is the Crown at War with us? by Alanis Obomsawin
Performed/Presented at: Eastern Edge Art Gallery, St. John’s NL
Photo: Eastern Edge Art Gallery
80064. Its title is the camp number of a 92 years old Auschwitz survivor, Jozef Tarnawa. The tattoo has faded with the years and Zmijewski meets the old man in a tattoo parlor and tries to persuade him to have it ‘refreshed’.
The old man is not to be convinced easily. He wants to be left in peace. He is worried that the renewed tattoo will not be ‘original.’ In the end, Zmijweski gets his way and the poor man submits his arm unwillingly to the tattoo artist. In Zmijweski’s own words: ‘When I undertook this film experiment with memory, I expected that under the effect of the tattooing the ‘doors of memory’ would open, that there would be an eruption of remembrance of that time, a stream of images or words describing the painful past. Yet that didn’t happen. But another interesting thing happened. Asked whether, while in the camp, he had felt an impulse to revolt, to protest against the way he was treated, Tarnawa replied: ‘Protest? What do you mean, protest? Adapt – try and survive.’ In the film, suffering, power relationships, and subordination are repeated.
About the controversial work the artist says:
“It’s a renovation of the number, a kind of the respect toward the guy, he is treated as a living monument of the past which needs to be preserved and kept in good condition. And the second meaning of it is re-creation or repetition of the act of violence toward this guy. In both movies, I wanted to open access to the past, really open it, not to commemorate it only, but only open access to it, really jump into the past. The very moment when the tattoo was done or the very moment when people were in the gas chamber […] Deifnitely artists should maintain their position and support curators and institutions which presents this exhibition and fight censorship.”
Tattoo (for Reflection)
The work of Douglas Gordon revolves around a constellation of dualities and dialectics. Mistaken identities, doubles, split personalities, and such opposites as good and evil, and self and other are thematized as inseparable. Gordon’s films, video installations, photographs, and texts transform differences into uncanny, nuanced pairs.
Gordon approaches film as ready-made or found object, mining the potential collective memory that exists in cinematic fragments, and in the process, disclosing unseen or overlooked details and associations. His installation through a looking glass (1999) features the well-known scene from Martin Scorsese’s 1976 film Taxi Driver in which Travis Bickle, played by Robert De Niro, asks, “You talkin’ to me?” while gazing into a mirror. In Gordon’s piece, the scene is projected onto dual screens placed on opposite walls of a gallery space. The original episode from the movie, filmed as a reflection in the mirror, is shown on one wall. The other screen displays the same episode with the image reversed, flipped left to right. The two facing images, which begin in sync, progressively fall out of step, echoing the character’s loss of control and his mental breakdown. These discordant projected images seem to respond to one another, thus trapping the viewer in the crossfire. In its almost dizzying play of dualities, through a looking glassperfectly articulates the dialectical inversions, doublings, and repetitions that are the central concerns of Gordon’s work.
Gordon also uses still photography to capture performative acts, as in Tattoo (for Reflection) (1997). In accordance with Gordon’s instructions, the writer Oscar van den Boogaard had the word “guilty” tattooed in reverse on the back of his left shoulder; the tattoo can only be read via its reflection in a mirror. Gordon revels in the mixed messages found in the tattoo’s various cultural associations, from its use as an identifying mark on prisoners to its current incarnation as a subculture status symbol. In true Gordonian, reflexive fashion—with the word legible on van den Boogaard’s back only when reversed—the photograph becomes an index of an index.
Three inches, black no. 2
Douglas Gordon Douglas Gordon, Never, Never (white), 2000. C-type digital print. 62 x 76 cm (unframed). © Studio lost but found / VG Bild-Kunst, Bonn 2017.
Literally salted, canned beef.
To prepare: Saute onions, garlic and tomatoes in oil. Add salt and pepper. Use can opener and add corned beef. Cook for 20 minutes. Serve with white rice.
This is documentation of the first taste of the Jamaican drink, Ting. Tasting a “pink” flavoured version of a drink that I cherished as child, forces a connection between childhood memories of the past and new experiences in the present. The original flavour’s taste recalls a time when I longed to be older, while the pink flavour’s taste becomes associated with a time in which I dread entering into adulthood.
Gusto Rico, Dean Baldwin 2016 – C Print
Janine Antoni – Taste of Vision and image from Lick and Lather, 1993.
Text from Marina Abramovic, Making a Gold Bowl
Marina Abramovic, From Floating Breakfast, 1979
Vito Acconci, Trademarks
Aislinn Thomas, Pancakes to Hold Up the Ceiling
Sophie Calle, from her monochromatic meals series
Jeannie Dunning, Tongue
Genvieve Cadeaux, (Her mother’s mouth above the Musee d’art Contemporain in Montreal
From Granta, Do Women Like to Cook
Massimo Guerrera, from Darboral
Natasha Leseur – Sans Titre
Daniel Spoerri, Assemblage, 1992.
Toilet Paper Magazine – Maurizio Cattelan
Ambera Wellman’s Instagram: https://www.instagram.com/p/BfyHfiqgYPS/
Mushy Peas are just mashed up green peas typically mixed with butter and cream (I did margarine and soy milk) and salt and pepper. They are a British food often served with fish and chips. My mom’s side of the family comes from England so I grew up eating a lot of this type of food!
Sha Qi Ma, or soft flour cakes is a Chinese snack equivalent to rice cake in Canada. It is originally from the Manchu population which lives in northeastern China, but is now popular across China. The version I brought to class is a Fujian variance which is a little different from the Manchu version with the addition of sesame and eggs. You can get this in almost every Chinese market in the GTA area.