the diy landscape

apartment galleries, project spaces, alternative spaces, how they will always be interesting. 

how do they impact a greater public within the democratic system vs the communist system, how do they effect the art’s public, in urban landscape vs suburban or countryside. how do they affect mental health, align with religion or philosophies, how do they educate and enlighten on all these topics? 

topic of competition, or competing for attention against funded educational, institutional spaces, high wealth. these elite choices, a small unknown operation simply cannot commentate on matters, without either patience & time, or proper connection/channels, to push support of ideas in ways that would reach the masses. 

(for the above) Upon analyzing and internalizing the warring factions, hardened characters and romantically doomed minds of Andor Season 2 and its beautiful display of revolution, it is less clear that such potential quite outbursts of ‘insurgency’ are in fact admired and necessary for a changed new system.

• op 11: 1 in C.l major, Scriabin.

AHL understands the basic premise of art, expression, creation to be a fundamental heightening of the human condition. shared expereinces, love and hate, not one without the other, uniformity and commune, emotion. Taking the raw, stepping into an open playground, repurposing it to create something unique subconsciously crafted by the hands of humans, each with stories to tell. AHL believes in stories, individuality, reflexivity through the arts to break out of oppressive systems, open up into chain reactions of radical thinking and freedom forth initiatives, to support all independence, through representation or diversity not in appearance but background and culture. 

We think about participation vs engaging as an audience. Public art pushes participation that requires comfort and courage, where you are able to see yourself subject to focus, and able to make difference by surveying others, practicing relativity and connecting with others’ thoughts, history, preferences. Inviting scrutiny and participation requires the appreciation and understanding of self that does not suggest selfish individuality and an agenda to serve the ego. Not an attack on selective, or private teaching and engagement of the arts, which is barrier’d by finance and previous (or boldly newfound) cultural acceptance of expending resources into specialized development of the arts. I still believe, the strong must continue building strength as it can, not for others but for the purpose of greatness, though, it is often not reached. Acting as an audience combats the lifestyle and modes of thinking where you are unaware of the necessity to understand the importance of observing. Acting as an audience, collectively, viewing a production other than their own, is necessary to satisfy the minimal ego.

HGH shared N. Korea is the only able country in the world that refuses to engage and global economics. The Museum of Great Britain may be only major art or gallery collection that currently houses work from North Korea, most of which were considered quite dull and overly expensive tailoring away from potential continual negotiations with N. Korean arts. HGN also believes that North Korea and South Korea relations reflect the state of the world today, the 2020’s. The very nature of creation and art is so closely lined with democracy and freedom of choice, this is not surprising.

• op. 11: 8 in F-sharp minor

New Proposal:

Living Skin seeks alternative forms of representation, as commentary on unique narratives or unique perspectives on recurring narratives. 

The act of reclaiming in small, empowering, and defiant processes opens a door to the repressed to allow estranged perspectives to form upon the meaning of materials, meaning of spectacle, meaning of connection, meaning of art, and the business in art. To act as a flowing river of unfiltered focus, believing in cross pollination, not only for the sake of sharing of artistic social circles, but to touch upon different angles and rays of art that inspire new words, paintings, studies, and crafts. There are plenty of specialized spaces that conduct their efforts to ‘serve only one art god’ or medium. Many audience members find their time split between these different centers of specialization, to search deeper lengths of each, unlike what Living Skin may try to do (currently writing/press, sound/music, research/sciences, and exhibitions). The question we must answer, is, What blanket or purpose and belief directs the pursuit of all these facets that make Living Skin a center worth valuing the opinion of, in relation to each facet? Surely it is not simply the fact Living Skin has chosen to encroach on many different facets, and that is reason enough to pull them all together. Doing so blindly, is the fault of no purpose or vision in what intersection can and may yield. In many ways, Living Skin can be seen as a service and promotion to the lazy, consumer archetypes in doing so, by not searching for true genius in each facet. The angle of Living Skin, is potentially the beauty of the naivety that jerome and I offer to engagement in the arts, considering work, and their importance when sharing it with the public. It is never exciting, though not untrue, to explain Living Skin as the product of two adolescent designers positioning themselves as gallerists of sorts, or curators, which has always been a haunting overhead preventing deeper research and exploitation of madness, boundaries pushed. Our backgrounds in design research and iteration, invokes a desire to represent or hold artists in residence for 6-month to year-long cycles. 

When considering all the facets Living Skin has now opened its doors to, as an illustration influences or even dictates the placement, choice, and presence of typography in graphic design, the presence of music as it affects exhibition, the presence of exhibition as it affects writing, the presence of writing as it affects film, which should be the most defining practice or quality that can over-rule them all, typography or illustration or shape or sound? Is this question inefficient to pose at all? Questioning such leads to the idea of an arts organization led by a creative-practice pyramid scheme which champions one dialect of art to inform and interpret all others. How would a programmed series of music interpretations that challenged or support a certain lifestyle, change the way a painting or mixed media ceramic/installation is presented, or a book is published and constructed, or a film series is chosen and scrutinized? Or how would a colorful pop painting show support a certain lifestyle to change the way music, or a book launch, is experienced? Would a single proposed exhibition of series be expressive enough to support meaning for all of the above, or is it altogether overwhelmingly futile to consider combinations of “all” art’ genres, and successfully create an arts center that tackles an amorphous representation of “all”? Nothing can be all, but everyone is all. 

What can be the proposal for a new Living Skin? We take a look at what the general public understands of what a gallery is, of those who do not experience it regularly nor have opinion on it. A hybrid touchpoint center, one room for ideas to sit for long periods, one room for project and rapid derivation, a multipurpose arts center for music and press.

Emerging project DIY spaces, when one thinks to start one, with previous knowledge, after learning ins and outs of exhibition work, can only tap into works of certain scale and certain status. They show experimental estranged work. They show no bullshit work. They must show the entanglement with its immediate natural surroundings. They live in cadence of friends scrapped together, friends of friends, a few hailmary reaches of fringe artists, in hopes of putting together hot, sexy, brain itching compilations.

• #1: It should be commonplace for work to be shown in different form, typically in 3s, cadence-d to the urgency, density, and activity of the city in question. The first phase of this triple cadence, (1-week or 1-month or 1-year in length, the word phase synonymous to a movement in an overture) should focus on a single artist or artists at a time, movements 2 and 3 should introduce others while taking away others, leaving discourse to be had on the best iterations and intersections for each work / artist.
  
• #2: Alternatively, each phase, or movement, should involve all artists of a single show, each consecutive phase simply rephrasing the notions previously worked with. Though a single ‘best’ version of the curation and organization of a set of pieces could be considered more substantial and respectful, this brings the exercise of painting with pieces more visible to the eyes of the gallery audience. Working with a set number of artists places more importance on the thought, beliefs, practice, and purpose of each artist, backing the importance of representing or hosting artists long term. The question of requiring repeated attendance comes to question, on grounds of movement in arrangement. Without sitting with work for long periods, can they be truly understood and given weight? And does this system of asking an audience to revisit exhibitions of the same work, work? This exploits good curators from the bad, enforces pace and continuous engagement of gallerists/curators, those who should hold the utmost respect for what is exhibited under their leadership. 

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Scraps

I live and die by the screen. I am a slave to my stomach. Nothing you see now relates to what I’ve been trying to say. 

No I’m not ready, or have the credentials to make a book, write a critique, create a piece of art.

I want to support my practice of music, writing curating and painting as secondary. I want to take classes on music history, music theory, music philosophy, composing. Piano, perhaps the most traditionally versatile and expressive sounds. In pursuing something so versatile and language-less, makes way for global influence. Painting does too, writing allows to get into deepest specifics and tackle complex praxis. 

But if you call me on a good day, the well of spirit, dedication, awe, and rationed stillness, will pour into the craft at hand, in a way that simply cannot be undone. Irrevocably. Just call me on that good day. 

Where is the place you are ready at. The place people will meet you at. The place you can always be and stay and find home at.