DACS at the Art Party Conference: Cornelia Parker

Notes on Bataille

generosity = better rep

money and gift giving allows them to do what they want

currency could be anything of use to the person commanding the exchange

party to display wealth and say thanks to god does wealth have religious connotations?

the sacrifice of slaves, a gift?

the less you have the less you receive (capitalism)

a feast before death


A potlatch was held on the occasion of births, deaths, adoptions, weddings, and other major events. Typically the potlatch was practiced more in the winter seasons as historically the warmer months were for procuring wealth for the family, clan, or village, then coming home and sharing that with neighbors and friends. The event was hosted by a numaym, or 'House', in Kwakwaka'wakw culture. A numaym was a complex cognatic kin group usually headed by aristocrats, but including commoners and occasional slaves. It had about one hundred members and several would be grouped together into a tribe. The House drew its identity from its ancestral founder, usually a mythical animal who descended to earth and removed his animal mask, thus becoming human. The mask became a family heirloom passed from father to son along with the name of the ancestor himself. This made him the leader of the numaym, considered the living incarnation of the founder. (

it is not a festival it is something that happens at one

it is a means of circulating wealth

the commodity of the life of slaves

the destruction of wealth or of expense- how am i supposed to feel about that

a gift is given to have someone in your debt, so it is not a gift it is a loan.

cleche but reminds me of the god father

a gift give you the power to give or destroy

to give is to receive greater wealth through formalities

the slave ate the food and in return where obliged to gift themselves as sacrifices

what is more? If a rich mane gives a poor man £100,000 out of his £100,0000 and the poor man gives him back his shoes, the only shoes he owns, who has given more? Is it measured universally in currency or individually by means.



Purism, referring to the arts, was a movement that took place between 1918–1925 that influenced French painting and architecture. Purism was led by Amédée Ozenfant and Charles Edouard Jeanneret (Le Corbusier). Ozenfant and Le Corbusier created a variation of Cubist movement and called it Purism.[1]

The Purist Manifesto is worth mentioning because it helps describe rules that Ozenfant and Le Corbusier created to govern the Purist movement.[1]

  • Purism does not intend to be a scientific art, which it is in no sense.
  • Cubism has become a decorative art of romantic ornamentism.
  • There is a hierarchy in the arts: decorative art is at the base, the human figure at the summit.
  • Painting is as good as the intrinsic qualities of its plastic elements, not their representative or narrative possibilities.
  • Purism wants to conceive clearly, execute loyally, exactly without deceits; it abandons troubled conceptions, summary or bristling executions. A serious art must banish all techniques not faithful to the real value of the conception.
  • Art consists in the conception before anything else.
  • Technique is only a tool, humbly at the service of the conception.
  • Purism fears the bizarre and the original. It seeks the pure element in order to reconstruct organized paintings that seem to be facts from nature herself.
  • The method must be sure enough not to hinder the conception.
  • Purism does not believe that returning to nature signifies the copying of nature.
  • It admits all deformation is justified by the search for the invariant.
  • All liberties are accepted in art except those that are unclear.[1]

Ozenfant and Le Corbusier ran an art magazine called L’ Esprit Nouveau (The New Spirit) spanning from 1920–1925 that was used as propaganda towards their Purist movement.[1]


Example of Purism ( Amédée Ozenfant, Le pichet blanc, oil on canvas, 1926)

Le Corbusier Sink in hallway, what does it say?

why is it there? the first thing you see.

in the center of the hall way.

this house is about the act of cleansing and purification the act of becoming purer, cleaner, better people.

"demand bare walls in you living room, bedroom and dining room"

through purity we can become better people, what is our obsession with a singular race and purity (Hitler, Stalin, Mussolini and Franco). Is there a tick in out mind that allows us to obsess over sterilization and a singular format. why is simplicity and cleanliness so intrinsically seductive to our subconscious?

Ideas on Le Corbusiers Utopian Cities

he could reform the lives of millions by the use of white walls to overwhelm and often destroy the historic cities



Cornelia Parker Prison Wall Abstract (A Man Escaped)

"Prison Wall Abstract (A Man Escaped)" (2012-13) is a bold and wonderful series of twelve photographs that Parker took on her iPhone. They show the random black and white marks made by builders on Pentonville Prison wall. Apparently effortless, they look like Robert Motherwell abstract paintings. Here Parker has simply brought to light – put in a gallery – what the city produces by accident.




do i have to pay for things i find at the dump?

Keith Arnatt Pictures from a Rubbish Tip 1988–9 (

Dust Memories Frieze Review

Jean Dubuffet once wrote, ‘I am more curious about the elements that, by being so widespread, are usually for that very reason shielded from view. The voices of dust, the soul of dust, these interest me a lot more than flowers, trees or horses because I take them to be stranger.’ In the same spirit Emmanuel Latreille has curated his second exhibition about dust - really, an extension of his 1998 ‘Poussière’ at FRAC Bourgogne, rejuvenated with some younger blood. Not content to let an interesting theme speak for itself, the press release waxes philosophical about dust as ‘the residue of reality: that which seems to be a by-product of the real, but which is a vital layer of our dense and elastic reality’. Phenomenological pretensions aside, dust certainly proves a worthy medium for a certain brand of abject, poetic post-Minimalism.

The inevitable point of reference is Man Ray and Marcel Duchamp’s collaborative photograph Elevage de Poussière (Dust Breeding, 1920), an evocative image (resembling an aerial landscape) of dust accumulating on the surface of Duchamp’s Large Glass (1915-23). At the Swiss Institute, Surrealist psycho-geography is replaced by a more down-to-earth perspective - especially in Cornelia Parker’s Exhaled Blanket (1996), a slide filled with dust and fibres from Sigmund Freud’s couch in Vienna. Enlarged in projection, it’s a nasty-looking tangle of hair, lint and various unidentifiable substances.

Dust particles are, foremost, a nuisance. As François Dagonet writes in his essay ‘Pourquoi un art de la Poussière?’ (Why an Art of Dust?), ‘we are incapable of getting rid of them; all we can do is move them about.’ This sense of futility is beautifully expressed in Jordi Colomer’s video Pianito (1999), in which a man sweeps thick layers of dust from the surface of a piano with a flourish, causing a virtual blizzard. Equally to the point, an inscription on Dario Robleto’s bottle of Skeleton Wine (2002), made from cast and carved human bone and filled with a homemade red, reads ‘Scrubbing Your Soul Won’t Make it Clean’.

Dubuffet wasn’t entirely accurate when he wrote that ‘Dust is such a different being from the rest of us’. Actually, dust is the rest of us - household dust is said to consist mainly of human skin flakes. The Bible tells us that we are dust and to dust we shall return. In his video Domestic Performance (1995) Fabrice Gygi carefully brushes dust from a gallery floor and, like an eccentric janitor, deposits it in vials attached to his body. Michael Ross fills a thimble with sweepings collected from the various rooms of his home, labelling it, rather preciously, The Smallest Type of Architecture for the Body Containing The Dust From My Bedroom, My Studio, My Living Room, My Kitchen and My Bathroom (1991).

Dust, in the sense of ash, is also the result of a chemical reaction - whether spontaneous combustion or a slow burn. On one end of the scale is Jonathan Horowitz’ Je t’aime (I Love You, 1990), a video of a lit cigarette; in an extended visual tease accompanied by Serge Gainsbourg, the ash droops, dangles and finally drops. Another dust-related work, the notorious Cocaine Buffet (1998) by Horowitz’s partner, Rob Pruitt, comes to mind. At the other end of the scale is Claudio Parmiggiani’s Polvere (1999), a ghostly negative of a bookshelf created by filling a room with smoke and later pulling away a section of wall.

As these works suggest, Latreille’s most interesting choices have less to do with the metaphysical properties of dust than with a kind of physical disintegration. This slant is especially apparent in two inspired selections, nearly a century apart. The moody landscape of an early Piet Mondrian, The Landzicht Farm with the Moon on a Dark Night (1907-8), is further obscured by a botched restoration attempt and the general wear and tear of age. To its left, Jonathan Monk’s brilliant Empire (After Andy Warhol In Reverse) (2002), features a slide of the Empire State Building that is to be projected until it deteriorates. Already decades old by the look of it, yellowed and crumbling at the edges, this spectral skyscraper is a disturbing reminder of the dust that choked downtown Manhattan for weeks in the autumn of 2001 - pulverized matter, organic and inorganic, that even Dubuffet would be at a loss to romanticize.


Karen Rosenberg

Michael Landy Scrapheap Services 1995 (

Vincent Callebaut’s 2050 Vision of Paris as a “Smart City”

Cornelia Parker - What Do Artists Do All Day ?

Summer Exhibition 2014: Cornelia Parker RA

The Mistake Pt. 2

God Father clip that reminds me of Bataille



Le Corbusier (A White Clean Utopia)

Dedicated to providing better living conditions for the residents of crowded cities, Le Corbusier was influential in urban planning, and was a founding member of the Congrès International d'Architecture Moderne (CIAM). Corbusier prepared the master plan for the planned city of Chandigarh in India, and contributed specific designs for several buildings there.


During World War I, Le Corbusier taught at his old school in La-Chaux-de-Fonds, not returning to Paris until the war was over. During these four years in Switzerland, he worked on theoretical architectural studies using modern techniques.[2] Among these was his project for the Dom-Ino House (1914–15). This model proposed an open floor plan consisting of concrete slabs supported by a minimal number of thin reinforced concrete columns around the edges, with a stairway providing access to each level on one side of the floor plan.

This design became the foundation for most of his architecture over the next ten years. Soon he began his own architectural practice with his cousin, Pierre Jeanneret (1896–1967), a partnership that would last until the 1950s, with an interruption in the World War II years, because of Le Corbusier's ambivalent position towards the Vichy regime.

In 1918, Le Corbusier met the Cubist painter Amédée Ozenfant, in whom he recognised a kindred spirit. Ozenfant encouraged him to paint, and the two began a period of collaboration. Rejecting Cubism as irrational and "romantic", the pair jointly published their manifesto, Après le cubisme and established a new artistic movement, Purism. Ozenfant and Le Corbusier established the Purist journal L'Esprit nouveau. He was good friends with the Cubist artist Fernand Léger.


Between 1918 and 1922, Le Corbusier did not build anything, concentrating his efforts on Purist theory and painting. In 1922, he and his cousin Pierre Jeanneret opened a studio in Paris at 35 rue de Sèvres.[2]

His theoretical studies soon advanced into several different single-family house models. Among these was the Maison "Citrohan", a pun on the name of the French Citroën automaker, for the modern industrial methods and materials Le Corbusier advocated using for the house. Here, Le Corbusier proposed a three-floor structure, with a double-height living room, bedrooms on the second floor, and a kitchen on the third floor. The roof would be occupied by a sun terrace. On the exterior Le Corbusier installed a stairway to provide second-floor access from ground level. Here, as in other projects from this period, he also designed the facades to include large uninterrupted banks of windows. The house used a rectangular plan, with exterior walls that were not filled by windows but left as white, stuccoed spaces. Le Corbusier and Jeanneret left the interior aesthetically spare, with any movable furniture made of tubular metal frames. Light fixtures usually comprised single, bare bulbs. Interior walls also were left white. Between 1922 and 1927, Le Corbusier and Pierre Jeanneret designed many of these private houses for clients around Paris. In Boulogne-sur-Seine and the 16th arrondissement of Paris, Le Corbusier and Jeanneret designed and built the Villa Lipschitz, Maison Cook, Maison Planeix, and the Maison La Roche/Albert Jeanneret, which now houses the Fondation Le Corbusier.



Le Corbusier Sink in hallway (

Le Corbusier Utopian Paris (

Cornelia Parker Prison Wall Abstract (A Man Escaped) (

Cornelia Parker, “Exhaled Blanket”, 1996 (

DUST MEMORIES - Lawrence Weiner and Jonathan Horowitz (

Dust Breeding, 1920 May Ray/ Marcel Duchamp (

The Broken Labyrinth - Claudio Parmiggiani (

Claudio Parmiggiani’s Polvere (1999) (

Utopian Visions / Modernist Planning

Screen Shoot from Video of Me Making Art Work

detail from Stephan Trubys series of works on paper 1983

Cornelia Parker - What Do Artists Do All Day ?

How Do We Know That It's a Rock From the Moon?

Massive Long Shot


create, marks or stains with stain removers

Stain Removers (

notes on 'Are You Working To Much'

Is art a commodity?

charity is the gift that is commonly accepted as un payable, no debt intended.

going out is taking a risk going out is allowing yourself to be in apposition of experience.

an exchange of emotion and dull experience has some value, ’going through something together’

exchanging and creating a bond.

shared nostalgia tying you down.

is nostalgia a currency that you can by alliance with?

friendship is an exchange

there is a theatre about going out, you pretend to the world all is fine because you are venerable unlike if you where at home where you feel confidence.

the detractions allow us to forget about our own problems, our minds stimulated so they can revert back to mulling over experience or history, new events are being created.

a constant distraction through stimulation.

the sense of discovery disappears with age and it becomes about allowing yourself to entertain the idea something interesting might happen when past experience has allowed you to build up a resilience to excitement, anticipation and fear.

a reliable piece of classical music or the spontaneity and excitement of jazz

do you exchange your freedom and spontaneity for guaranty of comfort and reliability. If so is the cost the quality of experience and intensity

feeling in debt of you previous selves ambitions (i can sympathies),

was the sacrifice of time worth the merit of achievement and does it give the effort expelled a significant worth it didn’t have before?

I’m not sure which is more rewarding, the calculated achievement of hard work or the stimulating process of spontaneity and carelessness.

Highlights related to simplicity and our relationship with it.

Joseph Duveen (likes new and clean)

In recent years Duveen's reputation has suffered considerably. Restorers working under his guidance damaged Old Master panel paintings by scraping off old varnish and giving the paintings a glossy finish. He was also personally responsible for the damaging restoration work done to the Elgin Marbles. A number of the paintings he sold have turned out to be fakes; it is questionable whether he knew this when they were sold.,_1st_Baron_Duveen


what is our obsession with clean about?
why do we associate whiteness with cleanness?
can cleaning add or remove value?
can you clean things of sentimentality and so they are void of worth?
could i experimenting with the effects of bleach (or any other house hold cleaner)?
if whiteness is unwelcoming and elitist then whey do we strive for it? (art gallery format)
can you sand something down until it is void of color and association (unrecognizable) how does that object then associate with yourself and how do you with it?
does cleanliness make everything more desirable?
if i cleaned rubbish (bleach bathed it) would we see it as clean and more socially acceptable to still own
should i tackle my own issues surrounding cleanliness? (dirty plates)
how does cleanliness effect social engagements?
what is an acceptable level of cleanliness?
when is sanitation not okay? when do we value something for its dirt?
what can the dirt (dna) tell us about objects?
seeing as dirt is effectively the documentation of a objects life is it the objects history that we have a problem with, do we want its alliance to be only with us?
can you clean a pile of dirt?
being sterile leaves no room for the individuality of people and objects. (uniformity)

Le Corbusier Still Life (1920)

Le Corbusier’s Still Life (1920) is a typical Purist painting. He purified the colour scheme to include only the neutrals—gray, black, and white—and monochromes of green. He applied the paint smoothly to enhance the sense of impersonal objectivity. He also repeated the rhythmic, curving contours of a guitar (a favourite Cubist motif, which the Purists eventually rejected for being too picturesque) in the shoulders of a bottle and in other objects on the table; by tilting the tops of the objects toward the spectator, he gave an added emphasis to their flatness. A motif of circles is echoed in the various openings of the bottles, pipes, and containers. In such works, Le Corbusier and Ozenfant were attempting to create a “symphony of consonant and architectured forms.”


Le Corbusier Still Life (1920) (

Fiona B anner 'Top Gun' (


might go to the tip and see if they have had any sinks or elements used for washing thrown away and work with them.



then again i don't want people to think I'm channeling Duchamp, because I'm not, its important to be aware what my work may be saying.

Cornelia Parker, “The Negative of Whispers”, 1997. (


DUST MEMORIES takes as its subject the residue of reality: that which seems to be a by-product of the real, but which is a vital layer of our dense and elastic reality. The exhibition features works that engage with dust, revealing its vast material and metaphorical significance. With EXTRA, the spring exhibition at the Swiss Institute - Contemporary Art, the idea of reality's elasticity was introduced to show that when stretched, the real becomes extremely dense and complex. EXTRA asked us to search for the limits of reality and pushed us to conclude with a meditation on its limitlessness. Accepting this assumption of the unbounded nature of reality, DUST MEMORIES asks that we look into the supposed empty corners of our world in order to see the profound complexity of what is constantly passing imperceptibly through every aspect of our lives. The intricacies of the real are exposed with the works of DUST MEMORIES made of and about the invisible, the dirty, and the mystical material of dust.

Emmanuel Latreille, curator of the Fonds Regional d'Art Contemporain in Montpellier, first presented an exhibition about his preoccupation with the concepts of dust, debris and residue in 1998 called Poussière, (FRAC Bourgogne). For our summer show this year, the S has invited Latreille to present DUST MEMORIES, which features work about the possible realities created by dust. Enabling an extension of both ideas and geography, the Swiss Institute is happy to present DUST MEMORIES as a subtle counterpoint to the bombastic concepts of EXTRA. In addition to the fluidity DUST MEMORIES gives to the S's 2003 programming, dust has a particular resonance for our grimy New York City. Dust plays the medium for metamorphosis in New York City where millions come hoping to be touched by the grace of stardust and rescued from the inevitable debris of the city.

Bringing together both emerging and legendary artists including Mel Bochner, Piet Mondrian, Jonathan Monk, Robert Morris, Cornelia Parker and Lawrence Weiner, DUST MEMORIES will illuminate the density of the concept, medium and imagination of dust. The spaces where we first may see an insignificant or sullied deposit evolve into myriad worlds. Dust becomes a substance to illuminate further what was articulated with EXTRA: the real is infinitely layered, and by gliding through the almost imperceptible strata of reality, we discover the ultimate intricacies of our composite universe.

I am more curious about the elements that, by being so widespread, are usually for that very reason shielded from view. The voices of dust, the soul of dust, these interest me a lot more than flowers, trees or horses because I take them to be stranger: dust is such a different being than the rest of us. -Jean Dubuffet


Skeleton Wine (2002) - Dario Robleto (

The Everlasting Shadows Of Hiroshima (

Elgin Marbles,YouGov Poll, Parthenon Marbles (

Give Elgin Marbles Back: British Public Support Dwindles To 25%

The Elgin Marbles, also known as the Parthenon Marbles, which were scrubbed clean, whitened and preserved by the British Museum have created long standing international controversy. The question of whether or not the surviving sculptures from the Parthenon should now be given back to Greece, has been the subject of public discussion for decades. The complex history of the sculptures has created worldwide debate. Now in a recent YouGov poll it is thought that only 25% of the British public support the Elgin Marbles remaining in the UK. Half of the respondents to the survey published in the Times said the sculptures should be returned to Greece, with a 1/4 undecided. The marbles were again in the news this month when It was revealed that one of the figures was loaned to the Hermitage Museum in Russia. 



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