Evaluation...

well...
I really wanted to display my work on an autopsy table or some sort of medical looking table BUT BUT i couldn't get one, faculty of medicine was never there and polytech needed their tables for the nursing students exams.
Thought about getting another table but there wasn't really much point anymore because it wasn't going to be in a medical sort of context. I ended up just pinning it to the wall, i was worried about this because i didn't think it would be very accessible for people to be drawing on but that didn't end up being an issue at all. Hanging it on the wall made it like a finished work already on display, a lot of people drew on it especially with glitter because glitter is cool. I haven't actually seen the finished work, i wish i had told people that contributed to write their names on it somewhere, maybe i could have let them do that in the banners instead of putting in the names of the arteries :)
I think i could have displayed and presented this work a lot of different ways, i would have liked to have a person with my drawing painted onto them that people could pain on but nobody was willing to do this for free...
i got a bit worried towards the end that the artery names were irrelevant but i think i thought about it way too much, staring at that picture for god knows how many hours wouldn't have helped either..

Exhibition

section of unfinished drawing

Wim Delvoye

Bringing Home the Bacon: Wim Delvoye ArtAsiaPacific, pp. 154-159 30 September 2007

Interview with Delvoye and Paul Laster
SPERONE WESTWATER

"WIM DELVOYE: I started in 1992, did one or two pigs in 1994 and in 1995 I tattooed 15, but they were dead pigs; I got the skins from slaughterhouses. I started to tattoo live pigs in 1997. I was interested in the idea of the pig as a bank – a piggy bank. I didn’t have the concept formulated yet, but I decided to place some small drawings onto these living organisms and let them grow. From the beginning, there was the idea that the pig would literally grow in value, but I also knew that they were considered pretty worthless. It’s hard to make something as prestigious as art from a pig. It’s not kosher."

"In the early works, the imagery was as banal and trivial as possible: skulls, hearts, crosses. It was an encyclopedia of trivial things. I wasn’t really interested in the pig’s anatomy. But once I started tattooing live pigs, I was forced to take an interest in their anatomy, and that affected the composition. I gained new respect for the animals and began making tattoos for them. For example, the tattoo would follow the butt and shoulders and, as the pig grew, it became paler while the lines became thicker."

"There are two schools of thought about how the pigs should be exhibited. Some people like the flat skins hanging on the wall because you still see bits of the head and legs. Others prefer the hairy skins stretched like a canvas. If I have a complete skin with hooves and ears intact, and I like the tattoo, then I stuff it. It becomes more sculptural that way. I used to have the stuffed pigs standing, but now I prefer them sitting, like a stone lion outside a Chinese restaurant."

Luisa Rabbia

Luisa is an Italian artist, interested in the body and drawing.

In her art, Luisa Rabbia explores the perception of the body as border between the outside and the inside world of an individual: the relationship between a human and his environment, including his spiritual journey, his thoughts, memory and the passing of time. Anywhere out of the world narrates states of precariousness and fragility. The artist works with various materials, though she prefers those that best narrate the passage of time, the crumbling of things
and their disintegration. "I like to consider time itself a material," Luisa Rabbia says, "the main material that everything else may relate to." A face with closed eyes might suggest to us that the individual is resting, but who knows what is going on inside? What determines being
present? What happens in an abandoned body next to us? "I am attracted to the fine line between logic and madness, to how personal obsessions can construct a situation that is only real in our
thoughts", says Luisa Rabbia. "The drawing gives life to the thought, expressed in the dialogue between formal construction of the work and
the spark of creativity." To the artist, it is important to leave the mystery of the mind intact, to leave that hidden universe alive. This mystery upsets certainty and
the possibility of judging. Outside, there is a confusing world of patterns. But also the silence inside makes a lot of noise.
link

Old Man, 2007
Pencil on mixed material, 28 x 28 x 30 inches, LR-1047

Dimitri Daniloff

His work features futuristic, post-human environments with manipulation of the image of the body.

Tattoos

Found this site with some pretty intense tattoos, these ones have to do with mapping, but do visit the site for some astonishing pictures of scarification, piercings, tattoos etc i have never thought much about body modification before i think these people make Orlan look pathetic.

Exhibition Piece

Taking the major factors of TIME and MONEY and my building/carving/gouging asphalt skills i have decided to go with the sailor tattoo inspired drawing of the circulatory system :)
Just have to go to None tonight and suss out which space i will put it in.

Doris Salcedo

I would really like to work with the floor space or the ground in or near the gallery, and transform it by cutting in to it with my idea of gouging the veins out of the ground. Salcedo's work does this with the above picture of 'Shibboleth'.

Doris Salcedo’s Shibboleth is the first work to intervene directly in the fabric of the Turbine Hall. Rather than fill this iconic space with a conventional sculpture or installation, Salcedo has created a subterranean chasm that stretches the length of the Turbine Hall. The concrete walls of the crevice are ruptured by a steel mesh fence, creating a tension between these elements that resist yet depend on one another. By making the floor the principal focus of her project, Salcedo dramatically shifts our perception of the Turbine Hall’s architecture, subtly subverting its claims to monumentality and grandeur. Shibboleth asks questions about the interaction of sculpture and space, about architecture and the values it enshrines, and about the shaky ideological foundations on which Western notions of modernity are built.

In particular, Salcedo is addressing a long legacy of racism and colonialism that underlies the modern world. A ‘shibboleth’ is a custom, phrase or use of language that acts as a test of belonging to a particular social group or class. By definition, it is used to exclude those deemed unsuitable to join this group.

‘The history of racism’, Salcedo writes, ‘runs parallel to the history of modernity, and is its untold dark side’. For hundreds of years, Western ideas of progress and prosperity have been underpinned by colonial exploitation and the withdrawal of basic rights from others. Our own time, Salcedo is keen to remind us, remains defined by the existence of a huge socially excluded underclass, in Western as well as post-colonial societies.

In breaking open the floor of the museum, Salcedo is exposing a fracture in modernity itself. Her work encourages us to confront uncomfortable truths about our history and about ourselves with absolute candidness, and without self-deception.