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Chloe Novet

“Mourning Coffee”

 

This video work shows six fantastical characters as they try to order coffee. The characters are depicted through the use of hand-crafted masks and costumes, and are given voices by unintelligible garble. This work becomes activated when the viewer assumes the role of an unseen barista, and allows themselves to witness the disintegration of their customers while being overwhelmed by their demands. This relationship between the viewer and the characters is paralleled by the tenuous relationship between agency and physical constitution, which is a theme heavily referenced in the video. This theme is discussed in reference to the writing "Towards Post-Secular Aesthetics" by Abu Farman.

 

This project addressed the final project guidelines by exploring the ideas of death, aesthetics, and agency presented in Abu Farman’s writing “Towards a PostSecular Aesthetics- Provocations for Possible Media in Afterlife Art”. In this writing Farman asks if art can be made posthumously, and what does it mean to ‘die’ in a secular society. I felt like Farman extended not only what it means to die but also what it means to make art. I used these new horizons to create my own depiction of ‘death’ through disintegration and translate art as agency, and agency as a coffee order. Through my video I addressed the tensions between physical mortality and agency presented in Farman’s writing both in concept and in execution. I used stop motion video to gain more control over how I could document the characters’ disintegration. Stop motion allowed me to manipulate the unruly shaving cream between the shots. The use of stop motion was a small bid to gain control over a process that was otherwise as chaotic and unmanageable as a physical body and mortality.

Camron King

“Period Piece” 

 

This project is an exploration of the gross. What does “gross” mean? Can it be a subversive artistic tool for empowerment? This collection of photos showcases apples (a conic symbol of fertility) in steep decomposition. The halves, featuring some of the harmful stereotypes and misinformation about menstruation that permeate our society, ask viewers to consider their relationships with the gross and taboo. 

 

My project is in conversation with the themes found in the Legacy Russell reading on glitch feminism as well as the art collective Asco’s work and their relationship with activism and the “gross”. The glitch feminism reading talks about “embracing the casualty of error” and the things society deems wrong (Russell, 2019). This project is practically an ode to the casualty of error, and a direct confrontation of how mainstream society conceptualizes menstruation as “wrong”.  Russell writes that in a broken society what is understood as bad might actually not be (2019), and this project is pushing viewers to unpack this idea that Russell posits. In regards to how my work relates to Asco, I intentionally used organic material because it decomposes (yuck!) and photographed it late into its evolution into compost in order to explore a theme that is present in  much of Asco’s work — which is the icky, the yucky and the discardable being used in art in a way that transforms art into a tool for social justice.

 

Nora Aron

"Introductory Romp”

 

At first, I was inspired by Asco’s unabashed self-expression and use of found materials. But the more I thought about this it didn’t feel right for me to compare my purposely shocking take on Americana (a setting in which I am excepted and is part of my cultural heritage) to Asco’s self-made representation in the face of alienation within their own community. So, when I started researching Otobong Nkanga I was happy to find some new inspiration in the direction I want to take this imagery in the future. In the same way, she relates bodies to the earth and aims to create a feeling of non-belonging within natural landscapes I aim to connect the body to the land in its consumption. My video aimed to desensitize us to getting dirty and finding ways in which our body functions that can harmonize with the earth rather than require consumerism to function. Of course, my collection of trash for music-making was an attempt to coax us to spend more time creating with the trash we have and changing perspectives on what we need. That also is why I blow snot out of my nose like a freak. In particular this past year not only consumption of cleaning products has gone up but I’m noticing a culture of hyper cleanliness be constructed by advertising to sell products that take advantage of our heightened health paranoia. OH Shoot! I am just now realizing that there should be a trigger warning on my video because some of us are just not ready to handle bodily fluids right now. Hope I don’t scar anyone.

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