Chelsea College of Art & Design
Usually, I do go and attend graduate degrees shows. Previews, that is! Because there are drinks and known people to talk to; usually there is also an after-party. Can't remember attending to one of those shows apart from the preview day.
Really, I'm going to these gatherings for social reasons! I do not care much about the artworks on display, and the ideas surrounding much of the presentation elaborated by frigid (emotionally unprepared and unresponsive offspring's to the world) pseudo-artists.
Let's be real! only the family is interested in the artist and in his or her work, while getting lost in innumerable randomly display-rooms, walking up and down an interminable number of stairs and through corridors elaborated as a labyrinth; most of the artists are there on obligation, or for the observation of human behaviour in an interactive public space, as well, to share stories between us through multimedia or other physical mediums, so, later, they can say "I was there! I was part of it!".
Now, I realise in to where all the Oriental students - looks like an yellow-pages book of names to choose from: Choi, Hou, Hsu, Ishchuk, Isichei, Jang, Jiang, Kang, Kim, Kondo, Lee, Li, Ling, Liu, Park, Song, Sun, Wan, Wang, Wen, Xiong, Zhang, Zou, etc. - are coming to fad-London to study Fine Arts and other tangential areas of work, such as Art Theory or Design - a big curiosity of mine, by the way, places where dislocated communities concentrate and create new dialogues and discourses that are digested while cooking over local knowledge and competencies.
Furthermore, why particular works are focused on the widespread idea of Power - one of the College' main academic/theoretical research concepts.
Why, after leaving academia, they're works/exhibitions are so disperse, motionless scattered in terms of form and content - in they're mind, they believe that they still are doing graduate shows to be valuated for scholarly achievements. Anyway, even, sometimes, occasionally, now and then, I find one or two or three works worth mentioning. Not sure about all below, though! (might need names)
Really, I'm going to these gatherings for social reasons! I do not care much about the artworks on display, and the ideas surrounding much of the presentation elaborated by frigid (emotionally unprepared and unresponsive offspring's to the world) pseudo-artists.
Let's be real! only the family is interested in the artist and in his or her work, while getting lost in innumerable randomly display-rooms, walking up and down an interminable number of stairs and through corridors elaborated as a labyrinth; most of the artists are there on obligation, or for the observation of human behaviour in an interactive public space, as well, to share stories between us through multimedia or other physical mediums, so, later, they can say "I was there! I was part of it!".
Now, I realise in to where all the Oriental students - looks like an yellow-pages book of names to choose from: Choi, Hou, Hsu, Ishchuk, Isichei, Jang, Jiang, Kang, Kim, Kondo, Lee, Li, Ling, Liu, Park, Song, Sun, Wan, Wang, Wen, Xiong, Zhang, Zou, etc. - are coming to fad-London to study Fine Arts and other tangential areas of work, such as Art Theory or Design - a big curiosity of mine, by the way, places where dislocated communities concentrate and create new dialogues and discourses that are digested while cooking over local knowledge and competencies.
Furthermore, why particular works are focused on the widespread idea of Power - one of the College' main academic/theoretical research concepts.
Why, after leaving academia, they're works/exhibitions are so disperse, motionless scattered in terms of form and content - in they're mind, they believe that they still are doing graduate shows to be valuated for scholarly achievements. Anyway, even, sometimes, occasionally, now and then, I find one or two or three works worth mentioning. Not sure about all below, though! (might need names)
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