From b7d94f2428b1adb6fdfb3c65bb4b9c0337b74c7d Mon Sep 17 00:00:00 2001 From: Jules Laplace Date: Fri, 16 Apr 2021 21:58:58 +0200 Subject: artist statements --- frontend/site/projects/museum/constants.js | 19 ++++++++-------- frontend/site/projects/museum/icons.js | 24 ++++++++++++++++++++ frontend/site/projects/museum/views/artists.css | 3 --- frontend/site/projects/museum/views/artists.js | 6 ++--- frontend/site/projects/museum/views/credits.css | 30 +++++++++++++++++++++++++ frontend/site/projects/museum/views/credits.js | 4 +++- frontend/site/projects/museum/views/essay.css | 12 +++++++++- frontend/site/projects/museum/views/essay.js | 22 ++++++++++++++++-- 8 files changed, 100 insertions(+), 20 deletions(-) (limited to 'frontend') diff --git a/frontend/site/projects/museum/constants.js b/frontend/site/projects/museum/constants.js index 4bcc600..ffa96c4 100644 --- a/frontend/site/projects/museum/constants.js +++ b/frontend/site/projects/museum/constants.js @@ -14,22 +14,22 @@ export const ARTISTS = { statement: `

AFU. This is not a hackerspace. -

- Welcome to some savage archaeology in outta space! Occupy Archaeology! Occupy hackerspaces!

+ Welcome to some savage archaeology in outta space! Occupy Archaeology! Occupy hackerspaces!

- We are in dire need of more cave paintings in hackerspaces. More boards of mothers leading us with ferocity and care. More PC towers of Babylon. More hieroglyphic encryption and more hybrid creatures. The artefact is the agent creating subaltern hackerspaces with HERitage und HERstory.

+ We are in dire need of more cave paintings in hackerspaces. More boards of mothers leading us with ferocity and care. More PC towers of Babylon. More hieroglyphic encryption and more hybrid creatures. The artefact is the agent creating subaltern hackerspaces with HERitage und HERstory.

- All made by hand, thousands of years ago, remixed, stitched by hand, through software yesterday, conceived in a 3D printer today and reimagined tomorrow… The printer itself is the fetish object of open source and making communities. Forget ‘do-it-yourself’. It has always been the time for ‘do-it-together’. We, women of color, the invisible spirits and workforce, imagined and built computers and systems… We did the tinkering, always. And we don’t exist in dualisms of maker/made.

+ All made by hand, thousands of years ago, remixed, stitched by hand, through software yesterday, conceived in a 3D printer today and reimagined tomorrow… The printer itself is the fetish object of open source and making communities. Forget ‘do-it-yourself’. It has always been the time for ‘do-it-together’. We, women of color, the invisible spirits and workforce, imagined and built computers and systems… We did the tinkering, always. And we don’t exist in dualisms of maker/made.

- Forget the god-lists that scientists made up of the ancient materials. No need for hierarchies of gods or domination of one god over another. Few spirits kept their identity throughout millennia. In outta space we prefer spirits to gods. Spirits that are fluid and that emulate from one to another. Spirits, Diĝir, Nin—that care for their spaces and people… The geek is resolved in punk archaeology by the crafting and coding of spirits, masquerades, witches, goddesses and daimons... 

+ Forget the god-lists that scientists made up of the ancient materials. No need for hierarchies of gods or domination of one god over another. Few spirits kept their identity throughout millennia. In outta space we prefer spirits to gods. Spirits that are fluid and that emulate from one to another. Spirits, Diĝir, Nin—that care for their spaces and people… The geek is resolved in punk archaeology by the crafting and coding of spirits, masquerades, witches, goddesses and daimons... 

- We spirits defy linear temporality, mixing material and human life of different times... We are nodes of the causal network that gives events and codes coherence and meaning. One can recognise our ways when people (now and then) self-organise, envision, resist and revolt…

+ We spirits defy linear temporality, mixing material and human life of different times... We are nodes of the causal network that gives events and codes coherence and meaning. One can recognise our ways when people (now and then) self-organise, envision, resist and revolt… +

`, image: "", globePosition: { @@ -173,11 +173,11 @@ export const ARTISTS = { statement: `

I chose the location because of its originally intended function: A crematorium. This was one of the ambitious but unfortunately unfinished projects initiated by Ghana’s Kwame Nkrumah government in the 1970s. The building has been abandoned until today. -

- I am very interested in the rough aesthetic of the concrete adjoining with the scrabbled walls, which has developed in the last fifty years. The impression of the building is something historic and it reminds me of the inspirational material for a body of work which I sourced from tomb paintings: the Ancient Egyptian Book of the Dead.

+ I am very interested in the rough aesthetic of the concrete adjoining with the scrabbled walls, which has developed in the last fifty years. The impression of the building is something historic and it reminds me of the inspirational material for a body of work which I sourced from tomb paintings: the Ancient Egyptian Book of the Dead.

+

The structure is present in central Accra, giving a mysterious backdrop for the prints and works that I share in the videos. It connects in sync with my narrative; to understand ways and visual forms which can take on the journey to an afterlife.

`, @@ -197,9 +197,10 @@ export const PROJECT_PAGE_SET = new Set(["essay", "artists", "credits"]) export const ESSAYS = { nadim: { title: "About The Last Museum", author: "Nadim Samman", }, + statements: { title: "Artist Statements", author: "", }, } export const ESSAY_ORDER = [ - "nadim", + "nadim", "statements", ] diff --git a/frontend/site/projects/museum/icons.js b/frontend/site/projects/museum/icons.js index 9b88856..8faab20 100644 --- a/frontend/site/projects/museum/icons.js +++ b/frontend/site/projects/museum/icons.js @@ -679,3 +679,27 @@ export const Globe = ( ) + + +export const LastMuseumLogo = ( + + + + + + + + + + + + + + + + +) + +/* + + */ \ No newline at end of file diff --git a/frontend/site/projects/museum/views/artists.css b/frontend/site/projects/museum/views/artists.css index c2350a6..a327e19 100644 --- a/frontend/site/projects/museum/views/artists.css +++ b/frontend/site/projects/museum/views/artists.css @@ -69,13 +69,10 @@ pointer-events: none; } .page-artists .artist-detail.visible { - color: #000; - background: #FF790D; pointer-events: auto; opacity: 1; } .page.page-artists .artist-detail.visible a { - color: #000; } .page-artists .artist-detail-name { diff --git a/frontend/site/projects/museum/views/artists.js b/frontend/site/projects/museum/views/artists.js index 591b1d5..be39d61 100644 --- a/frontend/site/projects/museum/views/artists.js +++ b/frontend/site/projects/museum/views/artists.js @@ -86,7 +86,7 @@ export default class Artists extends Component {
{ArrowLeft}
{ArrowRight}
-
+
Home
@@ -102,9 +102,7 @@ const ArtistDetail = ({ artist, index, isCurrent, onClose }) => {
-
- -
+
{artist.name} diff --git a/frontend/site/projects/museum/views/credits.css b/frontend/site/projects/museum/views/credits.css index d7c6f35..96fff13 100644 --- a/frontend/site/projects/museum/views/credits.css +++ b/frontend/site/projects/museum/views/credits.css @@ -14,6 +14,9 @@ text-decoration: none; font-weight: bold; } +.page a:hover { + text-decoration: underline; +} .page-title { font-family: 'Druk'; font-style: italic; @@ -37,6 +40,25 @@ /* credits */ +.app > div.page.page-credits { + background: #FF790D; + color: #000; +} +.app > div.page.page-credits .page-title { + color: #fff; + text-shadow: 0 0 5px #000; +} + +.app > div.page.page-credits .home-link { + color: #000; +} +.app > div.page.page-credits .home-link:hover { + color: #fff; +} +.app > div.page.page-credits a { + color: #000; +} + .page-left { width: 33%; } @@ -99,3 +121,11 @@ height: 4rem; } +.page-credits .page-title { + padding-top: 1rem; + width: 100%; + text-align: center; +} +.page-credits .page-title svg { + width: calc(100vw - 12rem); +} diff --git a/frontend/site/projects/museum/views/credits.js b/frontend/site/projects/museum/views/credits.js index fd17045..4e2404d 100644 --- a/frontend/site/projects/museum/views/credits.js +++ b/frontend/site/projects/museum/views/credits.js @@ -3,6 +3,8 @@ import actions from 'site/actions' import { history } from "site/store" +import { LastMuseumLogo } from "../icons" + import "./credits.css" export default class Credits extends Component { @@ -29,7 +31,7 @@ export default class Credits extends Component { render() { return (
-
The Last Museum
+
{LastMuseumLogo}
CREDITS
diff --git a/frontend/site/projects/museum/views/essay.css b/frontend/site/projects/museum/views/essay.css index 0cc66a9..129c768 100644 --- a/frontend/site/projects/museum/views/essay.css +++ b/frontend/site/projects/museum/views/essay.css @@ -28,6 +28,12 @@ justify-content: flex-start; padding-bottom: 10vh; } +.page-essay .page-content.artist-statement { + padding-bottom: 5vh; +} +.page-essay .nilthamrong .page-content.artist-statement { + padding-bottom: 10vh; +} .page-essay .page-title { cursor: pointer; font-size: 10vw; @@ -81,7 +87,7 @@ stroke-miterlimit: 10; stroke-linecap: round; stroke-linejoin: round; - fill: transparent + fill: transparent; } .globe .globe-image { position: relative; @@ -93,3 +99,7 @@ font-size: 2vw; cursor: pointer; } + +.page a.jules-link { + font-weight: normal; +} \ No newline at end of file diff --git a/frontend/site/projects/museum/views/essay.js b/frontend/site/projects/museum/views/essay.js index ddfbfcb..5e98822 100644 --- a/frontend/site/projects/museum/views/essay.js +++ b/frontend/site/projects/museum/views/essay.js @@ -107,16 +107,34 @@ const EssayDetail = props => { switch (props.essayId) { case 'nadim': return + case 'statements': + return } } +const ArtistStatements = ({ essayId, index, isCurrent, onClose }) => ( +
+
ARTIST STATEMENTS
+

+ {ARTIST_ORDER.map((key, index) => { + const artist = ARTISTS[key] + return ( +
+
{artist.name}
+
+
+ ) + })} +
+) + const NadimEssay = ({ essayId, index, isCurrent, onClose }) => (
About The Last Museum
By Nadim Samman

- The Last Museum is an exhibition that explores productive tensions between the putative ‘anywhere’ of the digital and its relation to local particulars. Deploying a hybrid offline-online format, the project invites an international group of artists to reimagine site-specificity, through a sequence of interventions that cut across both real and virtual domains. The artists are Nora Al-Badri (Germany/Iraq), Juliana Cerqueira Leite (Brazil), Nicole Foreshew (Wiradjuri Nation/Australia), Jakrawal Nilthamrong (Thailand), Zohra Opoko (Ghana), and Charles Stankievech (Canada). + The Last Museum is an exhibition that explores productive tensions between the putative ‘anywhere’ of the digital and its relation to local particulars. Deploying a hybrid offline-online format, the project invites an international group of artists to reimagine site-specificity, through a sequence of interventions that cut across both real and virtual domains. The artists are Nora Al-Badri (Germany/Iraq), Juliana Cerqueira Leite (Brazil), Nicole Foreshew (Wiradjuri Nation/Australia), Jakrawal Nilthamrong (Thailand), Zohra Opoko (Ghana), and Charles Stankievech (Canada).

@@ -126,7 +144,7 @@ const NadimEssay = ({ essayId, index, isCurrent, onClose }) => ( Each artist was commissioned to author a sculptural group, to be installed at an outdoor site of their own choosing. The choice was only limited by a request that it be associated with communication and connectivity. Final choices ended up highlighting both technical and more esoteric forms of transmission—and included a notorious hacker hangout (Berlin’s C-base), ancestral land in rural Australia, a down-at-heel electronics mall in downtown Sao Paolo, a neutrino observatory in the Rocky Mountains, and more.

- Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, Jules LaPlace, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. + Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, Jules LaPlace, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts.

Some of the featured locations are associated with infrastructure and the World Wide Web, others include waterways and climate. Uniting these seemingly disparate aspects, a conceptual leitmotif of visually grounding planetary networks and other globe-spanning systems will be evident. Call it a web-site-specific project—in the sense that both art and exhibition design re-imagines the stakes of ‘site-specificity’ for digital times. What this means is that The Last Museum’s ‘site’ is a layered reality or (to borrow a term from computational engineering) a ‘Stack’. Our exhibition-stack encompasses material facts on the ground, digital code, and softer site specificities—including those previously outlined by the art historian Miwon Kwon, such as ‘cultural debates, a theoretical concept, a historical condition, even particular formations of desire’. Each artwork in The Last Museum is a kind of a vector that intersects with all of the stack’s layers. -- cgit v1.2.3-70-g09d2