Art

Juno Diary prologue

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As a civilization we have erased the cult of the creatrix, and denied women the role of cultural producers (…). The Capitalist system adds yet another layer of enslavement, with its absurd expectations of productivity, pink taxes, beauty and fashion industries, glass ceiling, gender gap, and in the US, a complete lack of free or affordable childcare, not to mention issues that arise from the economy of huge disparities and production towards destruction of humanitarian values and the environment.

VENICE BIENNALE DIARY MAY 19

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I sometimes even try to make ‘bad’ drawings as a means to make myself think or behave ‘outside the box’ or to create new patterns of behaviour. Surprisingly often, ‘bad’ ideas and situations have turned out to be ‘good’ in one way or another. I feel that allowing imperfections to be not only visible but in focus allows us to consider the life, history, and value of the hand-made object.

ITINERANT Performance Art Festival NYC May 21 – 25, 2019

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ITINERANT was created in 2010 by interdisciplinary artist Hector Canonge. Since then the festival has introduced, and featured the work of local, national and international emerging and established artists introducing and featuring their work at local museums, art galleries, performance art spaces, and public parks.

VENICE BIENNALE DIARY MAY 17-18

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I discover that the audience had been packed full of brilliant artists, some of whom are exhibiting in the exhibition and across Venice during the Biennale. There are many professors from the arts and sciences and we talk until the early hours.

VENICE BIENNALE DIARY MAY 16

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The British pavilion, which had a long queue last week, is quiet today so I walk straight in. The artist chosen by the British Council to officially represent Great Britain is Cathy Wilkes, an artist from Northern Ireland who lives in Glasgow. It is an exhibition that requires quiet contemplation, reflection and is subtly poetic – probably not to everybody’s taste.

VENICE BIENNALE DIARY MAY 15

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As agreed, we perform for one hour in order to enter a meditative zone. I wear a blindfold to help focus on the soundscape and movements and I work on paintings which are on the pavement and also hung along the wall opposite the gallery, where Paul is set up on a table with his equipment.

VENICE BIENNALE DIARY MAY 14

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Although it took Paul Morgan a great deal of time to assemble, the synth is built for an improvised performance with very little post-production, he will conjure a soundscape in conversation with my live-drawing performance, essentially using me as a proxy painter to draw the sounds.