directly engaged with like it or not.
Judith: Anything to do with daily life? not that simple.
Beginings of modernity - paris 2nd part of 19th Century. Marx: alienation from the means from production, movement away from agriculture. Street scenes and cafe scenes began to become subject matters for art - at the time quite shocking.
Ordinary, accidentally miraculous, popular culture, criticising status quo
City as a gendered space.
'Everday' different everyday for men and women. Men allowed to roam streets 'own the streets' was able to stand and observe without being abused or threatened. Women, not allowed out on their own.
20th century - the everyday shifted from a mere description of ordinary elements in social life, to confronting the materiality and totality of contemporary culture.
Francis Alys: when you are walking you are opening your peripheral vision, being awake and aware.
Georges Peree, The Street, 1974 rules to being observent: 'observe the street from time to time, with some concern for the system perhaps.'... talks about date and time and weather and what you can see and what it means.
Photography of things in the street. Claudia Pilsl, Found Not Taken, 2014. banana skin with tyre track through it
What we think are public spaces (shopping centres) owned privately and can stop us if they so choose - anti homeless, spikes in entrances to stop sleeping. Milton Keynes no teenagers wearing hoodies in the mall.
Using domestic space as well as the communal space.
Use of domestic objects. Hair brush - collecting the hair out of it (Halloum?)
Archiving the everday. Collecting objects of the everyday.
Krystof: The Uncanny
how an emersion in the everyday leads us to something profoundly troubling. Familiarity with the everyday leads to alienation. Notion of the uncanny. anxiety of the everyday. Freud's text: uncanny is something to do with anxiety and fear. moments where something we expect to be ordinary, familiar enviornment or experience, flips from being reassuring to something surprising or upsetting. 21st centurey focuses on things entirely farmilar to us, strike us as being dsrupted. Disruptions, disturbences, abstractions. Mike Kelley - own farmilar childhood memories and associated objects have this kind of dual fascination and repulsion element about them. Photographs of familar objects, become strange and anxiety - Soft toys too loved, distorted.
Freud: trying to pind own what consitutes to the uncanny, keeps piling on lists of new things that mighty fit into this catagory of uncanniess.
Frued: to do with literature. Looking at stories - the sand man. The uncanny above allis the return of the repressed. Asurgence??? of something wre have known all along. Explores the german term for the uncanny - defined with references - unheimlich. heimlich - homely, domestic, things that belong at home. also means something to do with secret. Un-homely, un-secret - secret revealed. Artists looking at perfectly ordinary things that become unexpected and grab our attention.
Freuds notion of the uncanny - strangness within ourselves. our anxiety of things we are producing ourselves.
Genres of objects and spaces, familiar but anxiety and strange. Anxieties to do with mortality, scared of death. Other kinds of strange experiences in terms of the body - doubling - a mirror creates a double space - twins.
Located within built, urban, and domestic spaces. Artists interested in exploring the idea of the home being a place that ought to reassure us but also makes us anxious.
Liminal space - crossing a thereshold.
correct ness, institutions, construction of self-hood in infancy begin to get distrubed. Overlooked, tiny detail that pricks the reality of the everyday into a black hole. Brassai, Involuntary Sculptures, 1933. Not rational and logical activities but distrubamce in order.
Surrealsits - objective chance.
If we look at our own bodies for a long period of time or in a different way, they become unfarmilar and create anxieties.
Disrupt what ought to be controlled environment to something strange.
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