To Cross, To Trans (Chapter III: Infiltration into the 'art world'…
To Cross, To Trans
Chapter III: Infiltration into the 'art world'
How did I get into an socially-engaged art program:
my academic and vocational background;
the stagnation of my career forced me to learn more;
took short courses on journalism, social media, film, games and academic drawings;
started an informal life-drawing group in 2015;
considered CCC but applied Trans- and Media-Design in 2016, and eventually got accepted by Trans-.
Plunged into a relative new genre of the 'art world' with a collective project without knowing much knowledge on the conventional 'art world'.
Four Stages of Public Art : Mark Hutchinson;
I would totally agree with the author, but then what can an artist do but not subject to criticism?
On the other hand, the article provides an aperture for scrutinizing public arts and examine their effectiveness
A description about Cut&Paste
What is 'art world'?
How to cross the border of the 'art world' when there is no clear borders?
Arts vs. crafts
Field of cultural reproduction : is it possible to break the 'determinism'?
On social engagement : it's not a goal but a methodology
Comparison between the collective and personal activities : mutual influences
The desire of acquiring experienced knowledge kindled my intensive attempts in drawing, sculpting, literature, music, and performance
Chapter I: Collective reflection on border
Project: Cross borders in Geneva
Claire Bishop: artist's autotomy vs. 'open-ended' multiple interpretation
Using geopolitical borders around Geneva to trigger a collective reflection on border issues with border-crossers in Geneva region
Start the project ambitiously but focused on one single start point
Collecting voices of situated knowledge
Result: visualisation of collected voices and using installation to stimulate more collective reflections
Hirschhorn's installation at Palais de Tokyo 24 hours on Foucault
It's a start point, the project will grow bigger
my reflection on purposely avoiding political discussions? to avoid endless and heated arguments on the topical naming and shaming--leave them to the media and social media.
Chapter II: Transclasse / non-reproduction
Bourdieu's social and cultural reproductions
Chantal Jaquet, Les transclasses ou la non-reproduction
Cracks : my adaption of Didier Eribon's Retour à Reims
My personal trajectories of transclass
My experience of making Raku masks
About socially-constructed identities
Why making those masks: a self-reflection on identities, complexity of identity politics and post identity politics
The symbolic meanings of the masks:
heterotopia and utopian body;
crossing borders with masks and mask-making;
crossing borders between imitation, expression, and affection.
Epilogue: Être transclasse sans-arrêt
tant pis, c'est peut-être la meilleure statut pour moi
Je continuerai à chercher l'opportunité de m'engager dans des pratiques artistiques.
Cette étude m'a aidé à mieux comprendre les formes d'art conventionnel et alternatif dans le «monde de l'art», à connaître mes potentiels et intérêts, et à construire un réseau.
Je continuerai à explorer des domaines trans-disciplinaires dans l'art et la science humaine au moyen de pratiques et de recherches théoriques.
Je vais devoir reprendre mon dernier travail pour rester à Genève.
C'est-à-dire, il me sera impossible de chercher des résidences d'artistes, de participer à des projets artistiques intensifs, ou d'exposer de manière excessive mes œuvres comme beaucoup de mes compatriotes dans le monde de l'art.
Preface: on writing and on reading
Why do I write it?
to probe rhetorical questions on art-making, art practices, roles of artists, art education, as well as my general interest on border-crossing and 'métis'
to recap my journey into the 'art world' as a novice infiltrator
to exam my 'integration' to the 'art world' through the master program
to analyse and make sense of the rationales behind my practices and their linking neural network.
to elaborate on my projects that I might not have time to develope further during my study due to the time restrain
to make sense about what I do during my study
Reflection on the writing for artist based on
I hated reading until I came to Switzerland. I didn't even like novels. I'd rather to see a film. The only things I read were technical books.
In China, we were told to read only the 'classics' which I had little interest to those works full of empty meanings; foreign language books were scars because of censorship; if available they were either translations or text books.
When I wanted to discuss my thesis with a professor at my university, it was rejected. She simply told me to read without telling me what to read.
When I tried to talk to a Israeli fellow colleague at work, he said to me that I should read more.
I gradually found confidence in reading after I once took an IELTS exam in which I received 8 out of 9 in both reading and listening. When I took online courses at the Harvard Extension schooI, I often understood the given texts better than the natives.
Nonetheless, I had difficulty to read art theories at the beginning as a novice. But I knew it was important for me to over cross the difficulty. The more I read the easier it will become.
Reading the Ranciere's The ignorant schoolmaster and Haraway's Situated Knowledge gave me the courage to continue my efforts.
Thanks to the professors at my current program, I started to enjoy reading the books and articles which are highly linked to my art practices and life.