Before I start posting ideas and comments about my phase 4 project, I would like to explore some of the "other options" that I'm going to eventually rule out of my proposal. As I'm planning to work on the "Google image trawl" option, I refer to some of the mail/email art models or the time-delay projects -some of which I find really interesting.
I've been researching quite a bit about the "mail/e-mail art" movement. The mailArt may be understood as a global movement of artistic exchange and communication through mail (or email) - I didn't know this movement was so old, since it can be traced back to its earliest manifestations in the Fluxus project or even the Neo-Dada art. Anyways, I'd rather focus on the characteristics of this kind of "art," because I'm not so interested in its historic approach.
The use of this medium obviously affects and determines the characteristics of the artwork (the object to be sent) -in terms of size, weight and shape-, which are constrained to postal services conditions. The communication channel is this case an essential part of the artwork, sometimes one of the most important since it brings the "noise", the uncertainty, or the signs of all of the administration steps through which the work has passed by. But mail art is much more than a simple exchange of artistic works through mail, as I see it as mainly communication. "Both, art and communication merge in postage."
Because this is a technology course, I should mention the capacity of the mail art to become e-email art. MailArt has endorsed the digital technology and thus uses all of the new media diffusion tools (first fax, now e-mail). I've found this article, MAIL ART INITIATION, very interesting regarding MailArt, since it announces some of the main principles of this artistic movement. These include:
- freedom of speech: even though pre-determined topics/issues are established in MA projects, the artist has entire freedom to exercise its activity.
- there is no selection and no judgement. Every artwork is accepted and exhibited.
- also, there is no art sale and no copyright restrictions.
The works that constitute this kind of art may come from a variety of sources. They include books, postcards, stamps, collages, rubber stamps, videos, audios, copy-art, 3D objects, digital creations, net-art, and so on. I find this variety really amazing, because it potentially allows us to create and re-create everything from an artistic point of view. That's why I considered doing the first option, "Exquisite Corpse Updated / Mail/Email Art / Telephone Game / the Effects of Technologies on Materials". But my personal situation -I'm working now on my project from Spain- the distance factor has its own problems: I would be forced to exclusively e-mail the images (in all of the steps) which introduces a limiting factor in how I can alter the images. I would like to finish this post by linking some very interesting non-American/non-Canadian mail artists. I assume they are quite unknown in Canada, and I think it's always interesting to share this information and the kind of work they do:
/ Juan Carlos Romero / Eugenio Dittborn / Miguel Jiménez "Zenon" / Edgardo A. Vigo / Clemente Padín /
I've been researching quite a bit about the "mail/e-mail art" movement. The mailArt may be understood as a global movement of artistic exchange and communication through mail (or email) - I didn't know this movement was so old, since it can be traced back to its earliest manifestations in the Fluxus project or even the Neo-Dada art. Anyways, I'd rather focus on the characteristics of this kind of "art," because I'm not so interested in its historic approach.
The use of this medium obviously affects and determines the characteristics of the artwork (the object to be sent) -in terms of size, weight and shape-, which are constrained to postal services conditions. The communication channel is this case an essential part of the artwork, sometimes one of the most important since it brings the "noise", the uncertainty, or the signs of all of the administration steps through which the work has passed by. But mail art is much more than a simple exchange of artistic works through mail, as I see it as mainly communication. "Both, art and communication merge in postage."
Because this is a technology course, I should mention the capacity of the mail art to become e-email art. MailArt has endorsed the digital technology and thus uses all of the new media diffusion tools (first fax, now e-mail). I've found this article, MAIL ART INITIATION, very interesting regarding MailArt, since it announces some of the main principles of this artistic movement. These include:
- freedom of speech: even though pre-determined topics/issues are established in MA projects, the artist has entire freedom to exercise its activity.
- there is no selection and no judgement. Every artwork is accepted and exhibited.
- also, there is no art sale and no copyright restrictions.
The works that constitute this kind of art may come from a variety of sources. They include books, postcards, stamps, collages, rubber stamps, videos, audios, copy-art, 3D objects, digital creations, net-art, and so on. I find this variety really amazing, because it potentially allows us to create and re-create everything from an artistic point of view. That's why I considered doing the first option, "Exquisite Corpse Updated / Mail/Email Art / Telephone Game / the Effects of Technologies on Materials". But my personal situation -I'm working now on my project from Spain- the distance factor has its own problems: I would be forced to exclusively e-mail the images (in all of the steps) which introduces a limiting factor in how I can alter the images. I would like to finish this post by linking some very interesting non-American/non-Canadian mail artists. I assume they are quite unknown in Canada, and I think it's always interesting to share this information and the kind of work they do:
/ Juan Carlos Romero / Eugenio Dittborn / Miguel Jiménez "Zenon" / Edgardo A. Vigo / Clemente Padín /
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