Pick up some interesting things from Tate.
Here is a work looks related to my project
Monochrome Till Receipt /White/1999 Ink on paper on wall
Ceal Floyer 1968
Born Pakistan, works Germany
“A shopping receipt may seem like a strange thing to put on an art gallery wall. How can this be art? Rather than making a painting or sculpture/ there are many artists (like Ceal Floyer here) who create art from everyday things. She would like you to think about the idea behind the art rather than what it looks alike. Take a closer look at the receipt. You will see that it is a list of objects bought from the supermarket that are all white. Imagine the objects and their whiteness and think about why this might be in a display about colour. Is white a colour?”
Purchased 2009
T2894
Some reference
http://www.tate.org.uk/art/artists/ceal-floyer-2761
https://en.wikipedia.org/wiki/Ceal_Floyer
https://www.lissongallery.com/artists/ceal-floyer
It first attracted me that even a shopping receipt can be an art work. I have collected shopping receipt for my project. If that is an art work than Can I say I have got lots of them? (laugh) But seriously there must be some reason for her to use a piece of paper form Sainsbury’s as her work. What does she want to say?
As the tag saying the list of object in the receipt are all white. So we know it is talk about colour. When we look at the words in the receipt, we can imagine how they look, how white they are. To this extent, maybe I can say it is a work of display in the mind of audience…
jb
JANE ALEXANDER
Combining human and animal forms and mixing recognisable and unfamilar elements, Jane Alexander’s African Adventure 1999-2002 addresses different histories of European engagement with Arica.
Alexander rose to prominence in the early 1990s at the end of the apartheid era, as South Africa was opening up following Nelson Mandela’s release from prison and the first democratic elections. The courtry quickly became a fashionable tourst destination and an entry point to the rest of the continent. Trsvel agencies like Africian Adventure in Cape Town, after which this work is titled, emerged in response to the demand.
African Adventure comprises thirteen figures on a rectangle of red earth, which references the infertile soil found in Bushmanlnd, an arid area of South Africa historically occupied by the indigenous khoiSan people. The green walls and chandeliers
evokes the British officers’ Mess in the Castle of Good Hope. a fortress constructed by the Dutch East India Company in the seventeenth cetury and the oldest surviving colonial building in South Aferica, where this work was first installed.
The obects positioned among the fgures include sickles, machines, a Victorian christening dress, boxes for explores, a steel car and a worker’s overalls. These relate to thems such as migration trade, labour, colonial legacy, conflict and faith. But
African Adventure does not present a particular moral or political message, as is often expected from work made in South Africa in the immediate post-apartheid era. Like he hybrid human-animal characters who are both confrontational and vulnerable, the work is ambiguous, moving between realism and metaphor, mixing the everyday with the uncanny.
The big moving installation.
People playing in the space.
