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Meaeear eeePROF. PHILIP POCOCK | MALEREI UND ANGRENZENDE GEBIETE
2002 »Future Cinemas ZKM Karlsruhe; »Net.Art« Irish Museum of Modern Art; 2001 »Solitude im
‘Museume Staatsgalerie Stuttgart; »International Media Art Awards« ZKM Karlsruhe; 2000 »Desert &
Transits Museum der bildenden Kiinste Leipzig; »Voilax Musée d'art moderne de la Ville de Paris;
1999 Augenblick und Endlichkeits Museum Ludwig Cologne; »humbot« Kunsthalle der
Bundesrepublik Deutschland 1998; »net_conditions ZKM Karlsruhe; 1998 +16" World Wide Video
Festivals Stedelijk Museum Amsterdam; »Skulptur Kélns Art Cologne; 1997 »7° International Video
Week« Saint Gervais Geneva Documenta X.
A PAINTER PAINTS A PAINTING WITH PAINT. That is in America. In Deutsch-
land malt eine Malerin ein Bild mit Farbe. On this side of the Atlantic, clearly —
identity, process and visuality ~ imply a plethora of fluid, metaphoric and open
sources ~ angrenzende Gebiete ~ for painting/Malerei in the 21" Century.
As the German syntax for the act of painting signifies, the topos for making art in
my class is, first and foremost, Identity. Who am 1? What am I about? What is out
there? My students share concepts and issues to experiment with an individual set
of values and meanings. For example: Why do we choose to identify and perceive
someone or something in the first place? This study in expression exists both
beneath and beyond aesthetic, cultural and formal production, which in turn will
naturally emerge as each individual learns to express their concept intertwined with
their self.
Painting in my class manifests itself conceptually in a creative trajectory: identity ~>
process > visuality. It is the student's struggle to question and select materials and
media best suited at that moment to connect observers with the observed. Their
choices know only the borders set by their ability to imaginatively and resourcefully
express themselves in art.
hitp:/www.domdefacircle; http://aporee.org/equator; http://www.humbot.org;
hitp://netmediao2.fh-pforzheim.de:8080
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