ORPHAN [AS PART OF ARRANGEMENTS]

 Robert Mapplethorpe's two invites for  The Perfect Moment , which opened at two spaces in 1988: Holly Solomon exhibited the commercially viable portraits and flowers, while the experimental space The Kitchen exhibited the sex pictures. 

Robert Mapplethorpe's two invites for The Perfect Moment, which opened at two spaces in 1988: Holly Solomon exhibited the commercially viable portraits and flowers, while the experimental space The Kitchen exhibited the sex pictures. 

 

Supported by Artlinks.
_________________

Invitation to the art community to submit images and handwritten letters to be included in a printed publication launched later this year. DEADLINE FOR OPEN SUBMISSIONS HAS PASSED. 

The authors of selected images and letters will be randomly listed on the cover of the publication but not alongside their submissions. 

Before you submit keep in mind:

1. Take time to critically reflect on your selected images and handwritten letters. 
2. Submit high resolution images and high-quality-scanned handwritten letters. 
3. Keep in mind that publication will most likely be in black and white, although colour elements may be added. Best advice: Think black and white with the possibility of colour. If your image can't survive without colour then we'll figure something out together.
4. Alternatively post handwritten letters (postal address given on request) Postal costs on me.
5. No details regarding the date, medium, materials, dimensions, title is required. 
6. 100 copies will be made; every author of selected image and letter will receive a copy, the rest will be distributed to interested parties. 
7. Date and location of book launch & screenings TBC.
8. Deadline for invited artists and writers: November 1st. 

READ BELOW TO GET A BETTER SENSE OF THE ORIGINS AND AIMS OF THE PROJECT. 

 Gillian Wearing's  Self-Portrait at Three Years Old  (2004) confronts the viewer with her adult gaze through the eyeholes of the toddler’s mask. 

Gillian Wearing's Self-Portrait at Three Years Old (2004) confronts the viewer with her adult gaze through the eyeholes of the toddler’s mask. 

 

ORPHAN is a project first conceived in 2011 as a callout to artists and others involved in the making and distribution of art in Ireland. Each submitted image would reveal some aspect of the art making or exhibition process that was ‘orphaned’ in the process of making things right, professional, perfect. Each image was to be displayed in a publication, anonymously. The project was not about promoting the artist or art institution, but to proffer a view at the extraneous behaviours of the artist, beyond professionalism and towards some kind of vulnerable, shameful, joyful or uncomfortable truth. 

Using psychoanalysis as a framework, something I have done in previous projects, like Deep-Seated (2016) and Madder Lake (2017), ORPHAN reaches out to artists nationally and internationally to reveal the deep-seated natures and nurtures behind their work and life through the submission of images and/or handwritten letters. 

Selected images and letters (invited and open submission) will target the emotions and desires that undergirds art, artist and artistic life, but isn’t always shared or made explicit in the white-cube or public-sphere display of art. ORPHAN propagandises the privacy of the individual in an era when privacy is a false commodity.

These images will form a booklet and inspire orphaned splices of text and images that will offset the submitted images in the booklet.

A screening of the selected images foregrounded against music followed by a post-mortem conversation will take place at the launch of the publication. 

SUBMISSIONS TO: naivedays@gmail.com ; postal address on request.

 

 ABOUT   A R R A N G E M E N T S

As of SEPTEMBER 2018 I am no longer on social media. Coinciding with this 'social experiment' I have begun developing art relationships that circle the word 'arrangement' – something that Deleuze and Guattari worked under when writing Anti-Oedipus: Capitalism and Schizophrenia (1972). The definition of ‘arrangement’ is beautiful without even looking it up, pointing towards something formal, convivial, or a future conditioned by relationships that have yet to be defined. ARRANGEMENTS will begin with an invitation to participate; then participation will evolve into 'arrangements' that may find haphazard form as paper, voice, word and yet to be defined.