Saturday, June 29, 2013

Defence & Survival Gameplay & Sports

All conscience, will, awareness, senses, perception and self altogether share one and the same outer body. This solid form or façade never was, is, could or shall really be them, despite being where and what they occupy; trapped inside and dependent upon there.  But these contents also very much shape, run and use their host.
.
Over time and from wear, outdoor features and components weaken loose and come away. Eyes, nose, mouth and ears lost; arms, legs, hands, feet, fingers and tœs gone; same for genitalia.  Change leaves behind exhausted and stagnant numb lump unit.
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Meanwhile, drive never gave up or departed.  Live force-fields, sheer energy and presence exceed material substance.  Size and strength overcome mere shell and vessel.
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Great escape plan, efforts and attempt pays off.  After liberation, only unbound, limitless and self-renewing freedom follows.

Invincible powers won and mastered, greater than those before, can and will touch, feel, hold, see, hear, smell and taste, as well as physically move, activate, invent and enjoy any and every thing; no matter how otherwise inaccessibly far beyond out-of-reach, even if previously unknown — or still as yet to actually exist.


©, Copyright, Douglas Park


http://www.emiliaukkonen.com/index.php?page=defence-survival-gameplay-sports

Friday, June 28, 2013

Piccadilly’s Peccadiloes

Public Art Installation by Rut Blees Luxemburg, Heathrow
London, 2007

Text written and read by Dougals Park 
for the inauguration of the work in Heathrow, 2007



Shifted Blockage Flowing Load

Vast expanses overstretch
 until pulled too far
exceeding beyond maximum limits
that suddenly there’s
fast-speed contraction and shrinkage inward. 
Original size and form reduce and decrease,
leaving mere fractions of their previous mass and bulk they once were. 
No longer endlessly continual and unbroken masses,
but defined and locatable compact units. 
Along outer-edges,
 coastal-beach riverbank seashore canal-towpath cliffs
surround and picture-frame
 innermost civic-centre and forest-clearing at the very heart;
nothing or little lies between moat and castle-keep.       

Distantly underneath,
every solid factory-chimney divulges secrets,
yet always in encrypted code states,
so otherwise might just have been withheld. 
Messages enter,
some stay,
others evaporate or implode,
many even orbit around.
 Case-subjects undergo changes,
within themselves,
also enacting such processes onto anything,
body or where else met with. 
All the rest spill out the other side,
rejected and escaping;
different than beforehand,
never the same again,
without turning back anymore.

Dreams extend,
burnt through armour-plated rock-face;
wounded injuries and healing bandage dressings confuse,
unresolved, interchangeable.
Countless visions projected –only to fall,
sent back down again,
drowning and buried,
inside these wishing-wells;
still more get forcibly thrown high up,
landing, stuck, lodged. 
Unfilled graves flood deep,
as does each hollow column pillar capital ship-mast. 
Eventual conclusion awaits discovery
or invention required for validity and activating. 


Copyright, Douglas Park, 2007

Douglas Park, reading at the inauguration of
'Piccadilly's Peccadilloes' by Rut Blees Luxemburg, Heathrow,
watched by Jari Lager, Director of Union Gallery, 
London, 2007

Images Copyright, Rut Blees Luxemburg, 2007


In later 2006 and early 2007, aided and abetted serial collaborative partner-in-crime, Rut Blees Luxemburg during the course of their duties, photographing London Underground signage and lighting reflected in puddles near selected Piccadilly Line stations. All towards a project, especially commissioned on the occasion of the 1st centenary of London's Piccadilly Line.

At the 2007 launch (for which guests commuted to and from Heathrow Airport, all the way from Rut Blees Luxemburg's exhibition at Union Gallery Union Gallery then in South London), recited ‘Shifted Blockage Flowing Load’, text based on personal insight, involvement and experience of venture.

Since then, ‘Shifted Blockage Flowing Load’ (and also ‘Pied-a-Terre Lumiere’), appeared in, Commonsensual: The Works of Rut Blees Luxemburg monograph, Black Dog Publishing, London, 2007.

As well as sometimes being in the same exhibitions, events and publications, other works about and with Rut Blees Luxemburg include:

‘Pied-a-Terre Lumiere’, premiered at launch for 'Pied-a-Terre Lumiere', public artwork, Place de Laurieres, Bellevue, Nantes, 2002 (1st published, as artist's pages, with Rut Blees Luxemburg in 'Miser & Now' magazine number 3, 'Future as Nostalgia' issue, various editors, Keith Talent Gallery, London, 2004); afterword, ‘Trinativity’ (English / Welsh, translated by Sian Edwards), 'Ffolly', Rut Blees Luxemburg, Ffotogallery Ffotogallery Cardiff / Glynn Vivian Art Gallery, Swansea, 2003.

Have also helped "christen" works, such as 'Ffolly' and 'Orifice Grid'.

Sometimes, Rut Blees Luxemburg exhibits and publishes black, white and grisaille trial-run polaroids from site-visits, plans for usually colour, high-resolute and large scale works, often including accomplice's inscriptions.

Jokes were made that ‘Pied-a-Terre Lumiere’ and 'Trinativity' were worthy candidature fodder as arias in the 2004 opera, 'Liebeslied / My Suicides' (Alexander Garcia-Duttmann's libretto using earlier texts for Rut Blees Luxemburg, set to music by Paul Clark).

Pied a Terre Lumiere


At concentrated sources of extreme coldness,
surplus glut of stale household condensation
and fresh morning dew fall accumulate and centralise,
where they mix and gel,
freeze rock hard into ice nuggets,
frost over with fireproof snowflakes
and mature into
see-through glass, crystal, diamonds, silver and stainless steel. 

Their strength, energy and force sets off fuse ignition,
sending sparks flying,
flammably burning
 -but these stone power-packs themselves,
withstand all heat,
never even thaw out slightly, let alone melt away,
damage repellent immunity strain being resistant,
durable and indestructable. 

Borne aloft on the sudden gust of a gentle breeze,
a flock, pack, shoal or swarm of such units comes together,
forming ballroom dance-floor solid rivers,
often abruptly halted and stuck at unbroken standstill,
as well as ethereal gaseous liquid pavements and roads
that sometimes stir, flow and gush forwards. 

Moving along,
only at a dead-slow snail and tortoise pace,
both infantry processions parade ahead boldly,
glow sunshine and spread warmth,
preventatively cancelling out villainous power-cuts that would otherwise successfully plunge brightness and clarity of day
into invincibly dark night time sub-zero conditions.

Copyright, Douglas Park, 2002


Public Art Work, Bellevue, by Rut Blees Luxemburg
Nantes, 2002
Images Copyright, Rut Blees Luxemburg, 2002

Text by Douglas Park read at the opening of the installation in Nantes, 2002



‘Pied-a-Terre Lumiere’, 
premiered at launch for 'Pied-a-Terre Lumiere', public artwork, 
Place de Laurieres, Bellevue, Nantes, 2002 
(1st published, as artist's pages, with Rut Blees Luxemburg in 'Miser & Now' magazine number 3, 'Future as Nostalgia' issue, various editors, Keith Talent Gallery, London, 2004); afterword, ‘Trinativity’ (English / Welsh, translated by Sian Edwards), 
'Ffolly', Rut Blees Luxemburg, Ffotogallery Ffotogallery Cardiff / Glynn Vivian Art Gallery, Swansea, 2003.

Have also helped "christen" works, such as 'Ffolly' and 'Orifice Grid'.

Sometimes, Rut Blees Luxemburg exhibits and publishes black, white and grisaille trial-run polaroids from site-visits, plans for usually colour, high-resolute and large scale works, often including accomplice's inscriptions.

Jokes were made that ‘Pied-a-Terre Lumiere’ and 'Trinativity' were worthy candidature fodder as arias in the 2004 opera, 'Liebeslied / My Suicides' (Alexander Garcia-Duttmann's libretto using earlier texts for Rut Blees Luxemburg, set to music by Paul Clark).

Thursday, June 27, 2013

Kim Kim Gallery in Year 2013

Published by Komplot
April 2013
Brussels

Douglasism 2012 @ Art Gwangju

L’etranger: Show #207


L’etranger, every possible Tuesday, 21h-22h (CET), Radio Panik 105.4FM, Brussels.
Scrambling radio art/art of radio, social imaginary significations, collective fictional spaces, post-economic music, queer diasporas…
A relational outbust of Kosten Koper.
Show #207, 4th January 2011
This week, heavily featured material sent to L’etranger by Richard Crow (The Institution of ROT): an inter-disciplinary artist with a strong background in experimental audio work, photo based media, live performance and site-specific installation.
Played was the sound of Nick Coudry, Michael Hartman, Meryll Hardt, Reins DâAngleterre, TV Pow, Legless Cripple, Agnivolok, As Seen On TV, The Justified Ancients Of Mu Mu, John Oswald, Kosten Koper, Tomas Korber / Ralf Wehowsky, Henri Pyanetchkin and The Kapodastrs, Sister Orly, Pete Um, The New Magic Raincoat, Opera Mort, Psoy Galaktionovich Korolenko, Fossil, Kruzenshtern & Parohod, Kathy Acker & The Mekons, Peter Christopherson.
Interjections & Overlays courtesy of: Diastolic Murmers (Richard Crow & Adam Bohman), Richard Crow (w/ Douglas Park).
http://ltgpanik.wordpress.com
http://www.umbusiness.co.uk/?tag=kosten-koper

Amado Art Space

Hannam-dong, Seoul










Monday, June 17, 2013

Allotrope Press

Keef Winter representing Allotrope Press and Bruno Glint at the ICA on Sat for the Publish and be damned book fair -with Anna Chrystal StephensRichard Crow,Carla WrightFergus JordanStevie Mykietyn,Rosie FarrellRut Blees LuxemburgPola SieverdingKr Winter and Douglas Park at ICA Gallery.

https://www.facebook.com/photo.php?fbid=492027040853907&set=br.Abqbiyn9xvnTj43JKhLkm7kWKj8JxKgbFIme51N1-6iEARKNNKVCaiWanVzU_BLDpjgdu4h7J3-6nRKVRiQfoxXzx-0gghbNoSvkOoQl-039HxH3SOdi83c8m3F4IE0oKJFccNL6Yodc6AWk8loze1Do2dE2IN5h7sU1Gf3xMgkpuA&type=1&theater

Sunday, June 16, 2013

London Meeting


Wallace Collection Cafe
with Keef Winter & Rut Blees Luxemburg
Photos by Rut Blees Luxemburg
June 2013
London

Monday, June 10, 2013

Kim Kim Gallery Log Book 2008-2013


Approx. 192 Pages, Hard Cover, A4 Size
limited edition of 42
hand assembled, signed
June 2013
Seoul


Signed by Douglas Park
June 2013
London

Saturday, June 8, 2013

Richard Crow: Institution of Rot


Biography: Richard Crow is an inter-disciplinary artist working in the field of experimental audio research, live performance and site-specific installation. He utilizes sound and noise in a performative way and for its disruptive and subjective qualities and above all for its psycho-physical implications for the listener and viewer. Over the past two decades his solo and collaborative site-specific installations and performances have consisted of highly conceptualized interventions into base materiality, investigations of alternative systems of organisation and research into a certain material decadence, most notably with the project The Institution of Rot which he co-founded with the writer Nick Couldry in 1992. Since 2007 Crow has collaborated with Sound Threshold, which was established by Daniela Cascella and Lucia Farinati. Crow has shown extensively in Europe, and internationally including Russia, Canada, Australia and New Zealand.
http://www.touchradio.org.uk/touch_radio_52_richard_crow.html