REMOTEWORDS (Achim Mohné & Uta Kopp) is a long-term art project that installs messages on roofs and, by means of virtual programs like Google Earth, gives them worldwide coverage. The messages are mounted in durable form as giant, bright letters. The site and the message are conceptually a semantic unit.
Gramazio & Kohler and Raffaello D’Andrea FRAC CENTRE, ORLÉANS, FRANCE
[video]
[video]
David Hockney’s killin it w/ iPad drawings
[video]
[video]
[video]
kind of want corn rows
you have to put shit in it
you should do it
lol
you have to put shit in it to do corn rows?
you should mash up a mango and some tea tree leaves
and mix a egg
in
and some cranberries
mash a pot of it
kk
put some cocoa butter in too
good healthy fat
haha
mash it until it thick
run it in your hands through and through
and leave it in
then run it off inna di shower
is this all made up?
back comb some of it in hand fulls
no it’s the way to do it natural
kk
well i have to copy this all down then
1 sec
back comb it with your hands like run it together like a rope in your hands and then you can tie it back6:40pmRob
[video]
[video]
[video]
Night at Ronin Inn, Bulldog Inn, Hwy 441
For this piece I projected the film “Sword of Doom,” an Edo Period drama directed by Kihachi Okamoto, 1966. This idea developed from my understanding of the role of the ronin, as a wandering samurai, self-removed from any greater allegiances and committed to a wanderers life.
In my continuous search for forms necessitated by ideas, I chose to show this film in the interior of a dark motel room, so as to juxtapose the illusion of dramatic space in the film with the interior of the alienated motel room so as to force myself into a physical and psychological place in order to consider the implications of home, purpose, allegiances, and artistic process. It was an attempt at a sort of shock-meditation. I was fearful of my neighbors, I chose a room in the back of the motel so as not to attract attention to myself, I locked the doors, I closed the window blinds.
I wanted to remind myself that I could leave by imagining myself as a ronin and dramatizing this event within the context of an artistic and very comfortable community in a small, safe town.
Despite all of my efforts, which could be defined as the impetus for the work rather than the effect of it, only one person of around 25 invited people showed up. We watched the film, ate and drank, and talked about these ideas. What we realized came to be the objective reality for the work. This reality was that, I had my ideas, but hardly anyone cared, and that it was for the context which they made their decision not to participate.
Because of this realization we devised a rule based on what we had seen of our community’s support of this work of art. If you show work in a safe and comfortable environment, they will view it. If you show work in a new and possibly unsafe environment, they will probably not view it. This may seem obvious but it was not to me when I chose to do this piece, or otherwise I may not have went to all the trouble.
I am glad though that I did do the piece because I became a ronin that night. I wandered off the charts, to where noone could see, and there I was an artist, or more importantly I was living life. This is how an artist should be, like a samurai who has a code, but like a ronin who may wander off at will.
“Hidetora is me” -Akira Kurosawa
Hidetora has three sons — Taro, Jiro, and Saburo
“Ran” by Akira Kurosawa, released 1985
Air Jordans, released 1985
Michael Jordan, #23
Lebron James, #23
Layet Johnson, age 23
Layet Johnson, born 1985
Jordan, James, Johnson
Layet Johnson, lived at 186 Cleveland Avenue
Lebron James, of the NBA’s Cleveland Cavaliers
Cavalier, from Spanish caballeros, meaning horseman
Michael Jordan, of the NBA’s Chicago Bulls
Cavalier, a Royalist supporter of King Charles during the English Civil War
Lebron James, known also as “King James,” for the predecessor of King Charles