Monika Fryčová 

Outline

Thematic Area:  Spiritual Identity in Contemporary Art as Public Space
                                T h e    A r t i s t     a s      E t h n o g r a p h e r 

This dissertation will be a component and a result of my artistic project and research Fantasy vs. Discipline, vol. 1(the art of being saved by life, not life being saved by art).
The inner line of the concept strives to penetrate through the significance of words and aims at the same basic thing. Nobody wants to be an artist—one is driven to it.

 

Introduction

The Pink Panther does not imitate anything, he copies nothing, he paints the world his colour: pink on pink, this is him happening—with—the world, in a way that he himself becomes invisible, non-signifying, how to create s break and one’s own line of escape, to arrive at the end of one’s own “aparallel evolution”—La logique du vivant.

 

There exist many proofs that the concept of a spiritual and intellectual awakening in creative perception, and taking part in creative art and the cultural world in general, is not only a phenomenon of some conceptual thinking activity of a person (if the person in the field is adequately trained), but also is the result of the physical word—in the body/medium of the concentrated collective experience, which has to be awakened. This is a process which is known in almost all cultural circles and civilisational epochs.
One of the ways to see these hidden contents is to experience them again through the creative process (the act of new-founding), in which the person is connected as a multi-layered being.

 

The Artist as Ethnographer is aimed at auto-ethnographic-research in the field. According to Maréchal, auto-ethnography is a qualitative research method, a form or means of research, one which is about one’s own observation and reflexive examination in connection with ethnographic work in the field.

 

It is quite logical that I focus on creative art, but also its connection to spoken art between language (the image) and thinking and language and reality.
As an artist moving and living in an extensive territory (ICELAND—CZECH REPUBLIC—PORTUGAL), I theoreticise my own artwork as research, coming from a longterm process of exploration (mapping), which includes creative activity and a critical reflection from a foundation of essential condensing, from the point of view of aesthetic vanishing (whether organic in death, mechanical in cloning and copying, or ritual in games).

 

The introductory motivation of the work is the chapter: “Contents” in the book A Thousand Plateaus—Vol. 2: Capitalism and Schizophrenia by Gilles Deluze & Félix Guattari.
The theory of the Rhizome, which operates as short-term memory or anti-memory, operates via variation, expansion, discharge, captivity, attack. In opposition to graphic art, drawing or photography, in opposition to impressions, the rhizome connects to the map, which must be produced, construed, is always decomposable, connected with many inputs and outputs in its lines of escape. Its impression is possible to transfer onto a map, but not vice versa.

 

A body without organs and waves, a white wall and a black hole, a maritime model in opposition to fixed point and multi-linear systems in half-direct speech, in a melodic landscape, home.
The Artist as Ethnographer is also a means how to imagine seeing the Artist as someone who en-acts and embodies creative and critical research, a researcher as someone who acts in relation to culture.

 

The work also concerns the theme of the relationship of the artistic work and its reproduction. The disappearance of the artistXXX, which is a key concept—the disappearance of the work through its reproducibility. This is polemicised in the study by Walter Benjamin—“The Artist as Producer”, his view of this situation from the role of the artist/author (the intellectual and the artist) in society, with an emphasis on the relationship between theory and activism.
The Artist as Ethnographer—The Book; The Book—The Roots: in the next phase I acknowledge the fact of searching, searching for the significance and function of art for various societies.

 


1. Method of the Methodology
(searching for a method, expressing the method, the rhizome act)
My own instrument, training/work in practice, re-edit, re-petative, re-enter, re-X , The Art of Circumspection
Mediating the method and the creative approach of the artist in public contexts in which the artistic work in practice and the artist’s own research are enacted. A description of this work in practice.
Creative and critical intents, “thinking via the media” — “thinking via language”—“thinking in context”.
Collection of primary data, participational observing, ethnomethodology and conversational analysis, analysis of documents and texts, experiment in contrast with//with the antithesis of construction.
Through dialogues and discourses I will discuss the ethical connections of qualitative research, e.g. the question as to whether the researcher should inform those they are researching as to what they are researching. Is auto-ethnography the answer to this question?
(Root, Tree, Ocean)

 

2. Genius loci, Source, Map
Themes studied: Archeologies of Vision (Foucault) and the theory of multiplicities, especially the qualitative, continual multiplicity.
The Unbounded, erasing geographical borders and erasing the borders between reality and fiction, researching the similarities and differences, especially in the geographic and visual territory, mapping values in a different terrain. A Map, torn, overturned, initiated by an individual, by a group, open and connectible to decomposable dimensions, capable of continuous modifications, the theory of “possibilities”.
a) Iceland
b) Czech Republic
c) Portugal
d) Interzone

 

3. Courtly Love
Translation of art; the movement of art from one period to another, from one place to another, from one situation to another, now from uniqueness to reproducibility (Leslie 1996). The power of digital media and poetry? A confrontation with Benjamin’s philosophy in the consideration of the contemporary situation of society in regards to art and media.
a) The Nobility and The Biennale
b) Gems – Nomad Art
c) Neverending Quests – dialogues, lectures, Jorge Luis Borges

 

4. The END of the Performance – Improvisation
Structured composition – composition, my own audiovisual material, my own studies of hypotheses, fragments of poetic reflection, quotations on correlativity.
a) Introduction and analysis of documents
b) Schema as image

 

5. Authenticity, what is is and how it plays a role – CLAN
Artistic creation and spiritual experience: Man and Clan (The influence of spiritual experience on the means of creation, The influence of spiritual experience on depicted motifs: Work with dream and archetypal symbolism, The relation of incommunicable experience and artistically expressed media).
a) Research acts: interactive and reflexive acts
b) An anchoring in diversion

 

6. Choreography (Modern Art and the Cosmos)
a) ŽS
b) ab
c) Rhythm
d) Question, Statement, Confirmation, Contradiction

 

7. The Artist as Ethnographer / Fantasy vs. Discipline, Vol. 1
The inner line of the concept strives to permeate into the meaning of words and aims at the same basic thing.
Nobody is forced into being an artist.
The contemporary situation on the researched topic; its goal is the process.
–The Artist as Fighter, The Artist as Theologian, The Artist as Fisherman, The Artist as Brother, The Artist as Producer, The Artist as Prostitute, The Artist as The Others.

 

Conclusion:
In this study, the auto-ethnographic research will be defined; respectively, the method of active observation and several other connected concepts. The main theme of the research is artistic work in practice. Due to the author, who holds the position of artist, here the media and instrument of the process of research (The Artist as Ethnographer), the work will function as an electromagnetic pole, creating a certain conceptual constellation tempting one toward reflection. The formal specifications of the intended results do not have to mean that valuable but unintended results are not possible—we must only be open to possibilities and unusual manifestations.


 

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