Looking at the temporary nature of the object.

Guitar, '89-'90
material- cardboard, house paint, wood.

LOOKING AT A DISAPPEARING AESTHETIC.

THE TEMPORARY NATURE OF THE ASSEMBLAGE.

THE POLITICS OF SPACE

House, Front Yard and Back Yard
material- wood, house paint, wood, photograph

Mom called, they will be spraying the work for the fourth time again. It seems that the material has be attacked infested with termites and they had to be soaked with chemicals to see if they will be able to protect the works from destruction, NAH they cant, the work will be gone soon. Works that was created during a period where I would pick things off the street and drag them home to create object of desire. It was me trying to avoid the art store, It was me trying alternatives, It was me keeping money for Pelican night (a local pub in Port of Spain), It was was me being radical- what ever was going on in the gallery I was going the other way. It was me being ignorant.

But what ever impetus they came from they are now on their way to their finality, out of sight. Some of them were exhibited during the early years of the creation of CCA7 and Aquarela Gallery. But most of them have not been seen or presented due to the fact that I saw these objects as explorations, developments that will lead to somewhere.

Maybe that was where it has lead to, here, this conversation about space, materials and aesthetics. I remember Yao, telling his story of filming in a house (Yao is film maker with a heart of an assemblage artist, finding objects within his space and including them into his aesthetics of the film project) to return the next day to find the house gone. This story of temporariness is a familiarity that we have come to understand, it is part of our political frame. Our language and our desires. Historians will tell that Trinidad and Tobago and The Caribbean being part of the colonial project,  was developed as a space of temporiness, to extract as much as you can and leave. it is now in our 40's that we are now settleing as a people. It will be our politics that will see how and in what manner we settle. So far shit hit the fan........dat is another story.

As I listen to a advert shot from Power102FM a voice from the advert exclaims "Wha people doing with hoe in dey han in these times, where de money for the whackers, where is the money for the whackers".

We are a people who are always looking to upgrade, to dispel the past and create a future that suites our idea of the creation of modernism.

Exploration into shadow and color
Material- Wood, Acrylic, Cardboard, Glue

A friend just came back from Chile, on hearing the advert exclaimed to me, you know what I saw the people cutting the grass with....Brushing Cutlasses. 

Its the "idea", that is disturbing, that "idea", that made me drag out materials from the garbage or the side of the road, never in my head came across the concept of termites or how long this will last, if it was there it must have been dismissed forthwith.

This lack of criticality, has been solved and dealt with in my personal growth as an artist. But in conversation with other artists there seem that we still fall prey to the temporary nature of the object. We still develop in the fly, we build up and we crash down, or we totally dismiss the idea all together. I was wacthing a video of the Tate Modern, conservation team going over a Chris Offili's work, they replicated the painting to find all its structural faults, that they will be able to conserve it better. Where do we stand in the idea of material conservation and protection of the object. Rather than standing by the object and telling the patron not to touch the object.  

Dem shacks we see, the church in Quanapo, dem food stalls on the Highway, the Christmas stalls in Independence Square, De book stall that used to be in Woodford Square, (dat used to kill de grass, den tun to mud when rain fall, so when yuh walk in de sqaure dey was dis big ass mud hole watching yuh in de face), de squatters in yuh area are all built with the politics of "on the fly" with the idea we will fix up and upgrade to a permanent fix later on. The temporariness of our space has dwindled to the temporariness of the person.

Blue Bull
Material- Wood, Cardboard, Paint and 3 Rum Bottles

These were part of a larger piece that was displayed at one of the earlier CCA7 exhibitions that was held in the Fernande's head office, I think.
It was where Gary Turton's Office is.

It was interesting developing these work but as they move to another state, looking back, then looking at ones feet and around me to see where I'm in conceptually developing work, that will stand and past from generation to generation, or is it that the work must be come co modified into a consumer product of temporariness and live a certain life then pass on. As with the African crafts man it is in that making of the object that is important.

The question here is where is the object of desire in relation to the evolving nature of our politics of space and nation.

GOOD TIMES,

Bye My Sweet Hearts, Bye.

PRESENTING THE SCULPTURAL PLAYGROUND PROJECT

Drawing by-O'Brien Roy, 2005.
These two drawings where done by children from Tacarigua's 
4 schools to represent their ideal play-space.
(There is an interesting story there also) 

WHEN THERE ARE DREAMS WHERE DO WE GO TO BUILD THEM.

Drawing by-Simon Saukar-2005.

THE INTENTION OF THE PROPOSED PLAY-SPACE IS TO ACTIVATE A DIALOG BETWEEN ARTISTS,DESIGNERS, ARCHITECTS, URBAN PLANNERS, STATE AND MANUFACTURING SECTOR.
COMMUNITY.

ABOUT THESE POSSIBILITIES AND NON POSSIBILITIES OF THE ART-DESIGN OBJECT.

WE HAVE SAT DOWN IN RESPECTIVE SPOTS AND DELIBERATED OUR PROBLEMS TO DEATH.

Animation by Terry Smith (C)
conceptual detail of the proposed play-space.

WHAT WE NEED IS A PHYSICAL DIALOG OF CONSTRUCTION AND BUILDING OF SPACES IN ART-DESIGN POLITICS.

THERE WAS NAPA AND ALL THE REST
300,000,000MILLION
TO ORANGE UP.
AGAIN
NO ARTISTS.
NO DESIGNERS.
NO AESTHETICS IN THE ORANGE.

AS WE HAVE NO ART POLITICS.
WE JUST HAVE ARTY THINGS 


IT IS NOT THE FAULT OF THE
POLITICIAN
OR
THE MANUFACTURER
OR
THE TECHNOCRAT
OR
THE BUREAUCRAT



conceptual drawings for
THE NEW SPACE

IT FALLS SQUARELY AT OUR FOOTSTEPS
THAT WE ARE ALMOST IRRELEVANT OR INVISIBLE TO THE
SYSTEM
WHEN IT COMES TO INVESTING IN OUR COMMUNITIES.

furniture art-design object.
Dean Arlen's,
A whole Can Get Filled Up To.
Material- Wood,Metal.
2010.
(C)

 
Marlon Darbeau's
Peera
(c)


Richard Mark Rawlins
www.zazzle.com




Akilah Jaramogi
www.facrp.org
(C)

THIS DRAFT

Tells the stroy of developing the physical model.

possibilties of being seen,

RIGHTLY!

through

work- art-design-craft-

through science-thought-economics.

THE THEORETICAL IMPLICATION OF PLAY STRUCTURALISM.

A PERFORMANCE IN SYSTEM RE-INTERPRETATION.

THE POLITICS OF ART IN THE SCULPTURAL PLAYGROUND PROJECT.
Rio de Janeiro, Copacabana, Brazil, 28^th September 28, 2011.

 Building conceptual objectivism or re-constructing the contextual object, into an interpretive physical location as a utilitarian art-design object. With all the personal conflicts that comes with that- labour, sweat, sweetness, colour, economics, community shape shifting, formal politics of the state and final the politics of the object.

The political position will be the objective subjugation and eventual de-construction of the aesthetic object into a political norm of form. The object becomes tangled in the personal politico-ambitions of individuals and party, an innate form of Post Colonial political/educational heritage, which has evolved into Third-World Cultism.

 De-basing ensures that the art-object must at all time re-enforce its own politics despise the formal state, attempts to install a cultural/art policy, which will re-install formal political ambitions through the desire of the object. It’s growth, strength in defining and empowering space. 

Western economic rhetoric or personality will enforce certain conditionality’s onto the Third World object, developed through a position of Western philosophical thinking based on race based exploitation, that have recently showed the world of its intention of personifying the hedonism of Western labour market. It’s understood that economics must play an integral role in the ambitions of objectification. To be built, to be seen, displayed with all the ethical, philosophical and moral implication of a Third World objectification, there must be Third World economics.

Aesthetic economics   must insist in some way, to challenge economic thought, at the political, social and personal intent of normalize thought. It is through the constant critical participation of the constructive relation to the object that we will theorize a new political economic thought process, which will absorb the qualities of process, or at least refine how the economic operate around the object.

Aesthetics at this level will insist that we re-visit the social structure, de-construct purpose, and re-construct the criticality of purposeful objectification, which will recalculate the politics, the social and economics worth of the objective purpose.

Aesthetics will have to evolve through principle, in the constant acceptance of our truth, what will be presented must be analyzed within that context of constant context, constant dialog, constant construction, will develop an unavoidable truth of the politics of the art-designer, the state, the eventuality of economics of state, manufacturing and business communality.

The Incubator Space will be the operative physical intention of the Sculptural Playground Project, with the ambition of developing that constant space for dialogue that will eventual lead to theoretical and physical realities of the desire-able object.

There should be no hierarchy, no state, just circular thought pattern that allow for growth, achievements, rewards and developments. Circularity exists within the physical space. There is a square physical location, an entrance/exit, circular walking track, rectangular football field, rectangle cricket pitch with circular form. Then there is the play-space, which runs in a circular form through the obstacle course.

What have been created are cell structures, which vibrates certain amount of energy, which can be absorb by the other cells, creating living organism.

What we see in the above chart is the theoretical notion of the incubator space,

THE NEW SPACE.

The circular cell structure, should be notable as they all sit in some way separate, but involved with each other and only operates when one is dormant, there is a full appreciation that each form exist.

The concept of the invisible transient working forms existing within physical spaces, a physicality that can be utilized to construct physical objective dialogue and intellectual physical words, is plausible and already operates in a model that we can sustain, and has been operating as cell shops, virtual offices, pop-up stores, flexible industrial spaces, workshops etc.

The strength of the non-physical (above chart) structure is that it exist here, at this very moment, all it should take is to train that space to understand purpose of intent and develop a belief in that purpose of art-design aesthetic politics. It should be understood by technical crafts people that this is not only about the language of technicality but a morality and emergence of a philosophy of purpose, and a criticality of that purpose.

The physical centre model allows a more central dialogue that gives credence to what we’re all doing, concentrating it into an intense objective and emotional result, sustaining and deconstructing conceptual matter into physical and confrontational politics, theory, economics, social activism, technical data, local ritualism, cultural deconstruction/reconstruction, spiritual+religious metaphors, fantasy, dream building, planning, local philosophy, international relations, art design theory, class mobilization, economic reality, gender relations. Here the constant is operated and can be visualized.

Within the physical, abilities are made more front-ish within the circular dialog.

Here, a moral reality can be set, in the other Non Physical Model, the moral and ethical hard talk that’s necessary slips, it may not be as intense, into cyber space, with the possibility of becoming masturbatory and punking.

Attention to a detailed discourse should not be lost, the 8^th day wonder, our suffering of ADA, and our victimhood syndrome and present day distortions.

Conclusion, the desirable objectification, we all want for our personal spaces, can be achieved through the re-constitution of the desirable object. Political intention and confrontational dialogue between the artist-designer-crafts people- first. There must be direct relations between the artists, the state (or at least a respect of intellectual capacity) and the capitalist system, made up of the manufacturers, business, technocrats, bureaucrats and other diverse communities.

This reconstitution should be able to re-evaluate system and put forward a new aesthetic policy, that will benefit all.

But this can only be established only when we understand that the goals for one can be possible for all, even if the moment is about the sweet functional ability of space.

Aesthetic policy insist that order prevails in the subjective order of the object, there is this consciousness in design, a critical content, which makes it live, this is the desire, this is art motives, a democracy of intelligence, i.e. criticality.

Awareness, what is for? It’s that question, why we must engage the desirable object in a very communal conscious manner, through confrontation dialogue, which will draw on truth, exposing fakers, plagiarist and profiteers of the cultural economic matrix.

Through a consistent persistence to this objective order, confrontational aesthetic ordering, have the possibility of bringing an alternative political aesthetic ascension, from a dysfunctional normality, which can emulate and validate our human cultural characteristics.

An aesthetic policy democratizes not only the object, globalizes our intelligence; through process there is an internal and external physical and metaphysical evolution, that happening, that needs to be confronted and fed on, to be reconstituted into the other.

The art-design object aspires us to become that what we are not, it is the political acquisition of this aspiration through a revalued capitalist system, that can retell communal space. We propose that this euphoria can be available to all.

There is a disturbing beauty in the corrupted version and I’m sure that we’re inclined to hold to, moving from an understated position to an aesthetic order means systematic willingness to impale into the already overburden system a sense of languaging that will speak to governable, economics, community and the politics of our own ambitions.

The political realities and the political theory of the Sculptural Playground Project to build a physical space where the art-designer can articulate the political and economical transformational aesthetic discourse, will become all too real as it is presented to state, business and community.

It shall not be for want of trying, that we will succeed in the thought of presentation and the presentation of another theory, which can become the political discourse of the object.

This is not new, it just needs to be built.

Dean Arlen

Rio de Janeiro, Copacabana,
Brazil,
Windsor Plaza Hotel ,

           

        

MENTALS PRALLELS, RIO'S COPACABANA AESTHETICS......

MENTALS PRALLELS,

RIO’S COPACABANA AESTHETICS ON THE SKIN OF A CARIBBEAN SON

September 27^th -4^th October.

Black skin Caribbean,

Walking through Rio’s asphalt line, parallel precision,

Cut from Stone Mountain, neat, measured, stacked together,

By brick, by mortar,

Side by side,

One onto another,

Window looking people, living in the sky ten stories high,

Fenced in by mountain, fenced in by sea line, restoring progressive parallels,

Colonial modernism, history gets stuck in between buildings,

Stuck in between teeth,  

Mouth,

Eyes,

Ears,

Fingernails,

Toes,

Tongue,

Neck,

Penis,

Virginia,

Breast,

Pelvis,

 Legs,

 Limbs,

Buttocks,

Hair,

Skin,

 Samba, Orisha,

Scratched into building’s skin, beautiful intense sprayed lines mural,

Urban language, urban sculpture, urban art, urban Rio

Windows, wire, metal, rusted assembles hold potted plants, defines patios industrial steel hold you in, out,

Paint spackle, aged mortar,

Holding together wood crafted fibres,

Old man knowledge, from old country,

Spilled together in an amorous sexual intention of the native, 

To intermingle here in urban leisure,

There is no country here,

Rio is urbanized sexually,

Architectured from the histories of bitter colonialism,

A body sits, hard flat along the urban cities’ parallel line,

A body lies, softly, tanned, peaceful along the cities’ parallel beach line,

Their bodies’, are both visible, invisible,

They see through them,

Bodies like the city lives comfortably with these two conflicting episodes,

This visible invisibility can be disturbing to the outsider,

This quietness can be loud to the political sensitive,

 Historical political efforts to include and exclude,

Has be designed, has been managed, is being engaged,

 Constructing new forms of body, body politics,

Is important here, consumed, flesh,

 Sweetness of muscles, ripped, legs, buttocks, breast lines, tan lines,

Hard chest ritualized through performance therapy,

All designed for the body to engage,

Mouth,

Eyes,

Ears,

Fingernails,

Toes,

Tongue,

Neck,

Penis,

Virginia,

Breast,

Pelvis,

 Legs,

 Limbs,

Buttocks,

Hair,

Skin,

 Samba

My body feels comfortable here in Rio, with it’s speed, the intense ease of it’s big city madness, in it’s crackled pavement and dusted city walls of Alfandega, things are in place, this is when I know that I’m not home, things are in place,

designed from their madness, out of a madness, for urban madness,

Even the graffiti here seems in place, imperialism does not live here,

It’s their language;

Men sit on the corner hitting cards against wood fibres board, at the intersection of their city, high noon moment,

 bodies rest in Praca de Republica, campo de Santana in Centro,

 standstill, looking through their souls,

back at their city, the city looks back,

hard, old tired dirty new, modern asking them their move.

Hands hold the metal rims pulling that salsa richness of Orisha gold, drummers their soul knows and feels,

The way Rio feels, I can be part of it,

As I sit on a rock I wonder about those streets.

to return, to make art there

CAZA ARTE CONTEMPORANEA
http://cazaartecontemporanea.blogspot.com 
cazaartecontemporenea@gmail.com    

ENTERING

SAMBA ARENA

THE WINDSOR HOTEL

8TH FLOOR

COPACABANA

This long stretch of real estate is an important
pieces of property it is what shapes the politics of
the area.

The politics of the body.

Urban design.

This motif could be seen on Tshirts, cups, mugs,
Towels, letter head, this was all in the city.

Design as a signifyer for urban identity.

THIS WAS WHAT WAS ALL OVER RIO'S URBAN SPACE,
CAN YOU IMAGINE THE MAINTENANCE
OF IT.

 ON A WALK,
I MEET TWO GUYS STOOPED,
ONE WITH A LITTLE NEB HAMMER,
QUITELY, NIMBLY HAMMERING
 LITTLE STONES,
BACK INTO THE MOTIFF.


URBAN DESIGN MEANS URBAN
PATIENTS

ROCK IN RIO
WAS COMING UP AND THERE WAS ALL THESE
SAND SCULPTORS DOING THERE THING.

THERE WAS A CUP WHERE YOU PLACED A TIP.

URBAN GRAFITTI

THE THING WITH THIS URBAN ART WAS HOW IT SEEMED TO BE PART OF THE SPACE RATHER THAN AN OBSUCRE MARK

AGAINST THE LANDSCAPE.

THE FUSION OF HISTORY
STUCK BETWEEN
BUILDINGS

MAN THE BUSES,
THEY MOVED AT A PACE THAT
COULD BE MANAGED AS MOVEMENT,
YOU JUST HAD TO MOVE,
OR BE MOVED.

THE QUESTION WILL BE WHEN THE SUDDEN STOPS HAPPENS,
OH, WHAT A FIREWORKS THAT WILL BE.

THE HOTEL,
WAS PLACED BETWEEN THESE TWO APARTMENT BLOCKS,
WHICH HAD THIS RUSTIC LOOK

SHOPPING AT NIGHT
NEATLY TUCKED AND CLOSED ON TIME,
ON CERTAIN TIMES OF THE WEEK.

THE TROLLEY.
THEY SEEM TO BE VERY IMPORTANT PART OF RIO'S URBAN SPACE,
THERE WERE PEOPLE MOVING THINGS AROUND THE CITY.

I LIKES THE WAY THEY WERE DESIGNED TO HANDLE SPECIFIC LOADS.

IN THE CARIBBEAN WE DO HAVE THE SAME.

INTERESTINGLY IN EVERY ISLAND THERE ARE
DIFFERENT DESIGNS MODELS.
THE ANTHROPOLOGICAL
REASONS FOR THEIR
SHAPES.
TELLS A STORY ABOUT THE PEOPLE.

CRISTO
REDENTOR
CORCOVADO

IN THIS AREA HERE THERE WERE FISHERMEN,
SIGNS OF COOKING,
SIGNS OF SLEEPING,
SIGNS OF MEN,
LIVING THE SIMPLE LIFE OF FISHING AT THE EDGE,
THIS IS A SALT WATER LAKE,
RUNNING IN FORM THE SEA.

SIGNS OF LIFE.

THE AV. BORGES DE MEDEIROS,
HAD WHAT SEEM TO BE A APARTMENT BLOCK THAT WAS
VERY COLORED,
MEN WERE SITTING ALONG THE STREET IN TALK, PLAY,  WORK
THERE WERE THE SIGNS OF LIFE OF THE COOKING, THE STACKING AND COLLECTING OF STUFF.




BEACH MAINTENANCE

 JAMAICA IN RIO

BEACH TROLLEY.

IT TOOK ABOUT 2 HOURS TO WALK TO IPANEMA AND COPACABANA

THE CITY

R. DA ALFANDEGA

HERE IN THE CITY,
THE STREETS STOOD AS CITY STREETS,
THERE WAS THE GRIT,
THERE WAS THE PEOPLE,
THERE WAS THE TRAFFIC,
THE BUILDINGS,
THE ART,
THE MUSEUMS,
BONES,
THE HUSTLE,
A CITY IS A CITY IS A CITY IS A CITY.
THERE WAS DESIGN,

THERE WAS CONSCIOUSNESS
OF SPACE,
THEREFORE THERE IS
 CONSCIOUSNESS,
TO INTELLIGENT LIFE. 

THE SUBWAY

DETAIL OF SUSPENSION FOR A BIKE TROLLEY.
DIG.

A YOUNG TELLS,
ABOUT THE ARAB SPRING,
THE REVOLUTION WASN'T WELL THOUGHT OUT,
EGYPT,
IN ALL THAT SPENT ENERGY THE MAN, THE MILITARY,
IS BACK,
THEY NEVER LEFT.

HE TELLS OF THE SAUDIS AND THEIR MANIPULATION OF THEIR POLITICS.

WHO IS PULLING OUR STRINGS.

 DON'T CRY FOR THEM,
THE ACTIVIST ARE THERE WATCHING, TEACHING, TALKING, LEARNING. 

MUSEU DE ARTE MODERNA

PREPARING FOR INSTALLATION.

LAPA

AN ARTISTS COMMUNITY FILLED WITH SPOTS TO
LIME,

ARTISTS RUNNING STUDIOS,
ARTISTS RUN GALLERIES,
ARTISTS.
ARTISANS.

ALETEIA DANELUZ
ARTISTS STUDIO,





LAST DAY IN COPACABANA

EXITING AT NIGHT

MAP OF COPACABANA,
IPANEMA,
THE LAKE,
THE AREA WHERE I MET THE PEOPLE OF COLOR.