Bradley Krise Present

Bradley Krise

March 27, 2013

SUPPORT STRUCTURE

 CELINE CONDORELLI AND GAVIN WADE

The project goes from phase 1-10, interacting with numerous social activities including:

• Art-I am curator, 2003  Empowered the viewer to become curator for the day, resulted in 30 shows, organized by the viewer.

• Corporations-The Economist Plaza, 2004 intiated discourse between old and new users of the plaza through, public displays, events and meetings.

• Community-What is Multicultural?, 2004 Form a multicultural library to define and expand what multicultural means.  Also culminate with a prsentation and discussion of the findings.

• Politics-Common Use, 2004  plays on planning and advertising language to promote public awareness and provoke a less passive use of the land.  Walking is proposed as a social act.

• Education-Walking & Talking, 2005 Aimed to utilize the social premise of the university campus as a platform for conversation and debate to form a new map for the past and future communities of Wivenhoe Park.

• Urban renewal-How can we support you? A series of temporary billboards and hand drawn placards are positioned for use across Eastside as a brief for the many ways that the people who inhabit the site would like to be supported.  The responses assembled in a free pamplet along with essays from leaders in the field of architecture.

• Shopping-Music for shopping malls, 2007The active workshop, shopping bags, soundtrack and background are support structure & wang hui's tools for knowledge production as an interface to unlocking roles and designations of producer, retailer and consumer where traditionally the exhibition takes on the role of middleman.

• Institutions-Music for museums, 2008background music was developed for a specific range of functional areas within gallery and museum spaces. The piece questions contemporary exhibition environments’ default position of ‘neutrality’, and reconsiders them as places of production; it addresses the existing cultural and commercial typologies of the museum to stimulate critical engagement with ‘functional music’

• Public-Eastside projects, 2008 An open-ended long-term gallery system that will evolve in collaboration with invited artists to the gallery. a space where the building itself from passive becomes active, and articulates a changing and cumulative context with and for exhibition-making.

• Support-Support Structures, 2009 Support Structures is a manual for what bears, sustains, props, and holds up. It is a manual for those things that encourage, give comfort, approval, and solace; that care for and provide consolation and the necessities of life. It is a manual for that which assists corroborates, advocates, articulates, substantiates, champions, and endorses; for what stands behind, underpins, frames, presents, maintains, and strengthens.

Each project listed above engages its participant in the discourse of their current surroundings.  Allowing a place to question where it is you are and what it means to be apart of the space.  The question is based around a much larger question of support and how it is shaped, be it a shopping mall or a term like multicultural. 

They are attempting to create an environment continuously reinvented by its users in relation to its context.  Thus allowing it to take many forms and remain ever changing with the users continually interacting. 

This is all an attempt to solve specific problems of support by pinpointing them rather than using a generic approach to solve specific issues.

FAIRYTALE: 1,001 CHINESE VISITORS

Ai Weiwei

Artist Ai Weiwei brought 1,001 Chinese residents to the art fair Documenta held in Kassel, Germany.  He also installed 1,001 antique chairs throughout the pavilion to represent the presence of the Chinese citizens.

A textile factory was converted into a hostel, Chinese chefs were brought to cook, clothing and luggage was designed and supplied for the trip.  All of the aspects of the trip cost 4.14 million, which was raised through several sources including the german ministry of foreign affairs.

By selecting from the thousands of applicants, the most unlikely to ever make such a trip he afforded them a fairytale journey relating to the name of the show.  Out of this group some had never even had proper Government Issued identity cards.  So in more ways than just the travel, it afforded excellent opportunities for participants.

Besides the exhibition, a documentary was also made during the entire process to show the multi –pronged effect this had on the visitors.  Participants filled out a questionnaire with 99 questions.  These questions focused on personal histories, desires, and fantasies.

SIMILARITIES

-        Rely on participants to inform the impact of the project

-        Try to support and empower individuals

-        Use objects to support their ideas

DIFFERENCES

-        One uses the familiar, the other the unfamiliar as the space for contemplation

-        Ai Weiwei attempts to inform various issues, The other narrows in to inform specific problems.