I DO UNDERSTAND WHAT YOU ARE SAYING... I CAN SEE HOW A CONVERSATION WOULD BE THE DEPARTURE POINT... BUT IT WOULD BE COOL IF THE ACTUAL WORK IS MORE A TRIANGLE OF RESPONSES THAN A CONVERSATION AS SUCH... I THINK THAT A CONVERSATION WITHOUT THE REAL TIME ELEMENT IS REALLY NEVER A CONVERSATION... AT BEST AN EXCHANGE! KNOW WHAT I MEAN? I DO LIKE THAT POSSIBILITY...
I HEAR YOU... BUT CAN REALLY CONNECTION BE SIMPLE... TO CONNECT OR RECONNECT MEANS TO UNDERSTAND, AND TO UNDERSTAND MEANS TO RELATE, AND TO RELATE MEANS TO ASSOCIATE... ARE THESE ELEMENTS NOT THE SIMPLICITY OF COMPLEXITY? IS ALMOST TO SEPARATE THE SIMPLICITY OF EXISTING FROMTHE COMPLEXCITY OF BEING... OR IS THE OTHER WAY AROUND? WAS IT SIMPLE TO BE HUMPTY DUMPTY AND COMPLEX TO EXIST HAS HUMPTY DUMPTY OR SIMPLE TO EXIST OR COMPLEX TO BE? WHAT DO WE FAIL TO RECONNECT, WITH OUR EXISTANCE OR WITH OUR STATE OF SELF, BEING? REGARDLESS OF THE ANSWER I'M SURE IT IS A SIMPLE ONE... LOL
LETS DO IT
BEIJO GRANDE AND GREAT VIBES LADY
Nástio Mosquito
Featuring “Simplicity” as an “Irrational Fear”
Featuring “Simplicity” as an “Irrational Fear” is an exploration of the concept of simplicity and its impact on the direction of contemporary art discourse. Simplicity, which one could argue is akin to accessibility, is so rarely available in this current climate of contemporary art and one finds that there's a tendency to intellectualise away anything that may be overly-accessible or easily understood in art.
Concepts are often times over-complicated in the circumlocutory pseudo-intellectual babble that creeps into discussions, perhaps out of some irrational fear that once it is all decoded, then nothing is left. As Raymond Havens stated in “Simplicity, a changing concept” (1953:3):
Simplicity, it would seem, is a simple matter... In the eighteenth century, critics, essayists, and poets were constantly referring to it as the supreme excellence in almost every field, the "open sesame" to every door, whether of conduct, thought, taste, or artistic production. "The best and truest ornament of most things in life," Swift called it, and Shaftesbury, "this beauty above all beauties." Lord Kames declared, "The best artists ... have in all ages been governed by a taste for simplicity," and Horace Walpole said, "Taste...cannot exist without Simplicity." Joseph Warton went even further, maintaining “SIMPLICITY is with justice esteemed a supreme excellence in all the performances of art."
Ironically, simplicity is not quite as one-dimensional as one may expect. It is engulfed in concentric skins that seemingly lead right back to complexity. Simplicity itself becomes a slippery subject with multiple personalities but nonetheless one that is tackled head on. Through this performance-based installation a multitude of characters discovered in the excavation of simplicity are addressed and re-interpreted to create a triangle of responses from three performance artists, Nathalie Bikoro, Donna Kukama and Nástio Mosquito. The physical absence of the three performance artists in the performance space creates a rift between time and space, thereby necessitating a creative clarity in a media as interaction-reliant as performance.
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