225g /Leftovers of living by maaike bakker

*225g

Maaike Bakker

/LEFTOVERS OF LIVING.

28 NOVEMBER 2009- 15 JANUARY 2010 /UNISA ART GALLERY

fig.1 Die Staubf채nger Armee (detail of dust traces)

225g/LEFTOVERS OF LIVING by Maaike Bakker

Dust accumulation is inevitable. It is a by-product of our daily living, and is impossible to evade. Regardless of the modernity of our surroundings or the activity which occurs in a specific area, it is always present, whether airborne or as an accumulated mass. As time is intangible and cannot be weighed but only “measured”, it is impossible to capture the physical aspect of a passing process. The only physical leftovers of living is dust. A process can be completed or a cycle can come to an end, yet the only means to assess it is through the instrument of time. However, what if one was to also consider the weight of the passing of time, instead of only counting it down? The body of work 225g/Leftovers of living considers the physical presence of time. The works aim to challenge the fleetingness of time through introducing time as a physical thing, which manifests itself through the dust it leaves behind. Thus, 225g/ Leftovers of living considers the relationship between the passing of time and the inevitable accumulation of dust. It explores how transience could be trapped and confirmed through the presentation of a physical substance. Thus, the work deals with the theme of transience, routine and the weight of this passing. In order to investigate the passing of time or the activity of routine, dust is used to equate the remains of a process occurring in a defined space or area over a specific period. To translate this idea, I used accumulated domestic dust as the dominant medium weighed the amassed dust and used it alongside other materials as part of sculpture, drawing and installation medium. I exploited the use of light for this installation to serve the purpose of elevating dust by placing it “in the spotlight”.

fig.2 . 11g (2009) dust, vinyl and spray adhesive on paper 75.5cm x 55cm

fig.3. 7g (2009) dust, vinyl and spray adhesive on paper 75.5cm x 55cm

The body of work does not only explore transience in relation to dust, but simultaneously addresses the impossibility of attempting to specify, define and capture the passing of an event. The idea of trying to trap dust, or rather measuring time, therefore becomes satirized and is presented in a somewhat humorous light. These works are directed at exploring a determined area and the daily activities which take place in it, leaving behind subtle traces of dust that become the physical confirmation of a passed moment or activity. The dust is therefore seen as symbolizing leftovers of living; that which remains after the continuity of time The idea of measuring activity in terms of time is replaced with the idea of measuring a passed process in terms of dust “produced” in a specific time span. As a result, time transformed into something tangible through equating it to dust, and becomes a substance to be physically mapped and trapped. The artworks 225g/an installation(2009) (fig.5), Grey area map (2009) (fig.6) and Patterns through movement (2009) (fig.3) all deal with the elusive quality of dust through aiming to present the dust in an innovative manner. The approach taken in the making of these work was one of exploring how airborne dust can be trapped and controlled. The dust was also used in 22g (2009) (fig.7), 21g (2009) (fig.4)and 9g (2009) (fig.3)to depict mundane objects that form part of daily routine. I gathered dust from things forming part of our daily environment, such as technological equipment, and used it as a medium to draw these “dust collector” items. The work Die Staubfänger Armee (2009) (fig.10)consists of a shelf, cluttered with useless objects, each with a new assigned function, namely that of catching dust through being present so serving as a manifestation of transience. Despite applying rational processes, these works can also be regarded as directly satirizing western rationalization by introducing a new means to “measure” activity and transience in an exaggerated and somewhat impossible manner. The absurdity of attempting to collect all the dust in a specific area becomes a metaphor for the impossibility of controlling of time and its passing. 5

6 fig.4 .12g (2009) dust, vinyl and spray adhesive on paper 65cm x 50cm

The absurdity of attempting to collect all the dust in a specific area becomes a metaphor for the impossibility of controlling of time and its passing. The theme of transience becomes deconstructed through the exploration of domestic dust in relation to a specific area, a determined time span and an activity. Although the subject of transience and its weight is the dominant theme addressed in my work, a sub-theme has developed: the problem of the preservation of contemporary art. As contemporary artworks often take a new appearance (for example, performance, video, installations), often they are characterised by an immaterial quality, or consist of impermanent materials. As Depocas states, many contemporary works are of ephemeral nature, and thereby challenge the boundaries of art, integrating it with daily life (Depocas, 2003:22). Artists whose work was referred to in the conception of this body of work are Xu Bing and Vik Muniz. Muniz’ work, “The Things themselves:Pictures of Dust” (2001) (artwork not illustrated), was also initially conceived from dust, as the artist gathered gallery dust with which he made drawings of accomplished artworks previously exhibited in that specific gallery space. Despite the vast difference in terms of the final product, Muniz gathering process can be compared to the approach taken in 225g/Leftovers of Living, as he also defined his source area for gathering. In conclusion, the medium of dust is not only used to symbolize transience, but also refers to the final or “objectless” stage of John Schillinger’s five periods of the historical evolution of art. As quoted in Alberro (1999:47), Schillinger describes the final transformation of art as a scientific, post-aesthetic which will make possible the manufacture, distribution and consumption of a perfect art product; will be characterized by a fusion of the art forms and materials; and “finally become a disintegration of art” and “the abstraction and liberation” of the idea. In my work, dust becomes equated to this “disintegration of art” .

figure 5. 6.5g (2009) dust, vinyl and spray adhesive on paper 75.5cm x 55cm

Thus in conclusion, my intention for this work to revisit our values of time, and even of art. I aim to encourage us to, consider the“weight” of our lifestyles, or rather the “leftovers” which finally remain in terms of dust. Apart from counting-down a process, here we may also evaluate time as a physical substance. Thus 225g/leftovers of living is aimed at exploring how much our routine and the transience of time weigh, as well as making us consider what remains after routine…

fig.7 5.2g (2009) dust, vinyl and spray adhesive on paper 75.5cm x 55cm 10

fig. 8 patterns through movement (2009) (detail) vinyl and dust on paper 102cm x 70cm x 30cm 11

OVERLEAF fig. 9 Die Staubf채nger Armee (2009) (before dust) enamel paint on found objects 13 variable dimensions

OVERLEAF fig. 10 Die Staubf채nger Armee (with dust) (2009) dust and enamel paint on found objects variable dimensions

fig. 11 detail from Die Staubf채nger Armee (2009) dust on installed shelf variable dimensions

fig.12 Leftovers of Living (installation close up) (2009) perspex, wood, vinyl, dust, tracing paper, spray adhesive and electronical ballast with bulb 5 x boxes 46cm x 36cm x 14.5cm each

OVERLEAF fig.13 fig.12 Leftovers of Living (installation) (2009) perspex, wood, vinyl, dust, tracing paper, spray adhesive and electronical ballast with bulb 5 x boxes 46cm x 36cm x 14.5cm each 19

fig.14- fig.16 Leftovers of Living (installation close up) (2009) perspex, wood, vinyl, dust, tracing paper, spray adhesive and electronical ballast with bulb 5 x boxes 46cm x 36cm x 14.5cm each

fig.17 Grey Area Map (2009) digital print

68.5cm x 56.5cm

23 fig.18 (OVERLEAF) & fig.19 102cm x 70cm x 30cm

Patterns through movement (2009) wood, light fittings, vinyl, dust and spray adhesive

OVERLEAF fig.20 225g (2009) (detail of installation view) perspex, wood, 2 industrial fans, motion detector, dust., video projection 120cm x 64.5cm x 97cm

fig.21 225g (2009) (detail of installation view) perspex, wood, 2 industrial fans, motion detector, dust., video projection 120cm x 64.5cm x 97cm

fig. 22-fig.24 225g (2009) video stills from 225g installation digital media

OVERLEAF & THIS PAGE fig. 25-fig.30 225g (2009) video stills from 225g installation.

32 fig. 31 225g (2009) video still from 225g installation.

fig.32 Staubf채nger 5000 (2009) excerpt page from book format with digital illustration

fig.33. detailed illustration of engineering component used in 225g

fig.34 illustration forming part of installation explanation for 225g

fig.35 motion detection eye (forming part of installation)

Bibliography:

-Alberro, A & Stimson, B.1999. Conceptual art: a critical anthology. Cambridge: MIT press. -Depocas, A& Ippolloto, J& Jones, C.2003.Permanence through change :the Variable Media Approach. New York: Guggenheim Museum Publications - Lovejoy, M. 1997. Postmodern currents: art and artists in the age of electronic media. 2nd edition.Upper Saddle River, NJ: Prentice Hall. -Ridgeway, S.O.1981. When object becomes idea.Michigan: Xerox University Microfilms. -(http://www.artnet.com/magazine/reviews/saltz/saltz3-21-01.asp) (accessed 20July 2009). (http://www.xubing.com/index.php/site/projects/year/2004/where_does_the_dust_itself_collect) (accessed on 25th July 2009).

CV //curriculum vitae/

Full Name: Maaike Bakker Date of Birth: 01 September 1986 Education: Deutsche Schule Pretoria (1992-2004) UNISA BAFA (2005-2009)

Exhibitions: “Suburbia” group exhibition - Platform on 18th (2005) “Sasol New Signatures” - Pretoria Art museum (2005) “Inevitable” group exhibition- Moja modern (2007) “Addictlab” group exhibition- Lister Medical Building (2007) “Free for Charity-SA+UK “ drawing magazine/exhibition (amicollective)mexhibited in: Cape Town +London (2007) Bigwood 2-Artspace Berlin (2008) Absa L’atelier (2009) Sasol New Signatures (2009)

CREDITS/ engineering done by Jonothan Lennox catalogue photos taken by welovepictures ÂŠ video animation assistance: Andre Pereira carpenting: Christo Visser

Maaike Bakker thanks: welovepictures, Jonothan Lennox , Immi Middendorf, Antje Bakker ,Benieke Bakker & Andre Pereira. for more info visit: maaikebakker.blogspot.com / haveanicelife.blogspot.com