The Virus
Chit Chat in the Digital Age II
vi·rus
ˈvaɪ
rəs
- [
vahy
-ruh
s] –noun, plural -rus·es.
|
1. |
an ultramicroscopic (20 to 300 nm in diameter), metabolically
inert, infectious agent that replicates |
|
2. |
Informal.
a viral disease. |
|
3. |
a corrupting influence on morals or the intellect; poison. |
|
4. |
a segment of self-replicating code planted illegally in a
computer program, often to damage or shut |
[Origin: 1590–1600; < L vīrus slime, poison;
akin to ooze2
]
—Related forms
vi·rus·like,
adjective
|
Dictionary.com Unabridged (v 1.1) |
BESKONISTe’ wants to
produce a series of performance based installations to address the response of
human’s primal – natural
instincts to new technologically created spaces. Also, we want to address the mode of
reckless and ignorant consumption to our
natural resources that reminds us of
the behavior which viruses exists. A lack of understanding and exploitation of
our INTELLIGENCE
brings us to a point where we cause irreparable damages to our
living environment. If we want to
repair those damages, caused by
the imperfections of our intelligence, we
create additional strain and abuse of our living environment and jeopardize our
health in general.
This statement
brings us to the title and concept behind BESKONISTe’ collaboration, The Virus: Chit Chat in the Digital Age.
The performance will
consist of a mural, which will be painted in front of an audience and will act
as the performance, Artists in action
and reaction. Throughout the time allotted by your facility BESKONISTe’ will
construct and deconstruct the mural.
Through this endeavor
BESKONISTe’ will mimic the exploitation of the
surroundings human have on the world and its environment. BESKONISTe’ will act as
a virus, consuming
any clean, white available space/walls, periodically moving from one clean wall
space up to the other. After the
previous
wall space was covered by the drawn-painted images BESKONISTe’ will
continue to move throughout the gallery space and consume
the white walls. Once an area has been occupied for a period
of time it will then be deconstructed, resulting in a degenerating composition.
The artists of BESKONISTe’ will not
communicate among themselves verbally, but rather visually, using images as the
primary code for
the exchange of ideas during the performance.
Throughout the
performance stages BESKONISTe’ will communicate within itself and with its
surrounding through a series of drawings which
will then be viewed in their
traditional manner, hanging on the walls of the gallery in their paralyzed
state. These drawings will be
blueprints for
the mural and act as conceptual artifacts for the performance/
installation. Out of these drawings
prints will be made. Magazines and
newspapers
made out of this printed material will be published congruently with
the exhibition. It will be distributed
among general the population and or
visitors of the performance installation
space. This distribution will allow
affordable access to viewers that wish to have a copy of the drawings on
display.
BESKONISTe’
approaches the white wall space as a clean environment. The part of the performance will include the
process of an on the spot
web page build up allegorically representing
technological development. Every image
displayed on the desktop of the computer will be projected
on the walls, as
well. The projected images represent
information we are bombarded with on every day basis. The performers will try to respond
directly and indirectly to the
information given from the images by drawing upon them. Red art clay and other Iron Oxide dies will
be used as
the drawing and painting material implying a more primitive-natural
way of reaction-response to everyday technological anxiety.
The byproduct of
this technique will be a dirty environment consisting of cups filled by paint,
used dirty rags lying around, dust, and mud.
All this
indirectly implies on our civilizations destructive nature
toward its own environment due to industrial and technological
development.
As the performance
ensues, BESKONISTe’ will move from one wall to the next clean wall. We will start cleaning the wall that was
previously
drawn upon. One side of the
performance will deal with our self-destructive nature, and the other will deal
with the mindfulness of our disparaging acts.
This part of the
performance, deconstructing the mural, could be approached from two sides.
1.
To mimic the
irresponsible nature of governments who in order to protect their own
self-interest and self-involvement in destructive actions,
try to cover up
their wrong doings. BESKONISTe’ will
act as in that same manner. Due to the
nature of the drawing and painting materials,
dies will go through the wall
paint. The final product will be dirty;
a partially cleaned and painted surface of what once was a clean wall.
2.
As we move
toward the third wall, we will repeat the action of “cover up,” on the wall we
just finished painting with clay and iron oxide dies.
Concurrently, we will start a thorough cleaning the first
wall. Acting as a virus by attacking
and consuming, leaving no trace of existence
behind; concurrent
action-reaction.
textual and color
qualities. This act is a new mode of
producing a painting, and drawn images.
It is called REDUCTIVE PAINTING.
The cleaning
and repainting of the walls is very labor-intensive work
thus addressing the very laborious task of cleaning and restoring our polluted
environment.
At the end of the
performance/ installation there will be an empty gallery, whose walls are
thoroughly cleaned and painted. White
clean walls become
a work of art, a new painting; taking us back to where we
start. Could we do the same with our
natural environment?
.....bACK'