http://saraamido.com Sara Amido - Visual Artist Wed, 06 Mar 2013 12:46:19 +0000 http://saraamido.com en http://saraamido.com/A-Lot-of-Things http://saraamido.com/following/saraamido.com/A-Lot-of-Things Wed, 06 Mar 2013 12:46:19 +0000 Sara Amido - Visual Artist 5124096 A Lot of Things is about the versatility and ambiguity of language using the word "thing" as a prime example of this. All the different words that appear in these five bodies of text, that are translated in the subtitles to "thing," are in fact synonyms of this term as yielded by a thesaurus. To further illustrate this malleability, the sentences in these texts were all taken from the dictionary entries of the synonyms to exemplify the use of the word. As a result, the texts became about a lot of things. 2012 A Lot of Things is about the versatility and ambiguity of language using the word "thing" as a prime example of this. All the different words that appear in these... http://saraamido.com/7-2 http://saraamido.com/following/saraamido.com/7-2 Mon, 22 Oct 2012 15:51:45 +0000 Sara Amido - Visual Artist 4302906 <img src="http://payload100.cargocollective.com/1/3/123525/4302906/P5120041.JPG" width="670" height="893" width_o="2048" height_o="2730" src_o="http://payload100.cargocollective.com/1/3/123525/4302906/P5120041_o.JPG" data-mid="22721546" border="0" align="left"/> For RESORT (May 2012) In collaboration with Tom Watt 7 ± 2 Sevenplusorminustwo Seven 440 x 10 cm timber planks turned into twenty-five 60 x 20 cm steps Taking the core idea of the RESORT residency as ephemerality, Miller's theory of itemizing memories was adapted to try and make permanent those that would normally be temporary. A physical object and exercise was used to preserve something abstract: a memory. The physical object degrades – the wood by wear and tear, and the text on it disappears immediately with the rain swelling up the timber. The memory remains, imprinted in my brain from the repetitive and tedious exercise. The sentences are purely observational banalities of something that happened on each day of the residency. These ideas have no value, they are notions that would otherwise be forgotten almost instantly. According to Miller there are 7 ± 2 short-term memory items that the brain can hold at a given time. Therefore there was a different sentence for each of the 7 planks, for each of the 7 days. Also, as a rule, every memory starts out as short-term, including the memories that become long-term. Memorizing for memorization's sake is a purely unproductive action. Making important something that has no significance, that is equivalent to nothing, that will pointlessly be added to long-term memory. The futility of keeping waste on one's mind registers the futility of making something that will be taken down or destroyed. The planks becoming stairs gave function to this piece as compensation for being conceptually aimless. They were a necessary precaution built to aid the audience on their descent down to the cliff path where the exhibition continued. A rope was still needed to descend the steps and it was intended that the user would abseil down backwards. They were built with a lack of a plan other than they had to reach the bottom. This meant that they were of uneven heights and quite difficult to negotiate. The planks used were far from adequate strength and thickness for a sound set of stairs. It was intended that a few of the steps would break whilst being used on the day of the exhibition. It was important that the stairs were not built to safety regulation as it became apparent that there was a running theme of slight danger throughout the expedition/exhibition. <img src="http://payload100.cargocollective.com/1/3/123525/4302906/IMG_3054.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload100.cargocollective.com/1/3/123525/4302906/IMG_3054_o.JPG" data-mid="22721405" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/3/123525/4302906/P5070003.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload100.cargocollective.com/1/3/123525/4302906/P5070003_o.JPG" data-mid="22721461" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/3/123525/4302906/IMG_3087.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload100.cargocollective.com/1/3/123525/4302906/IMG_3087_o.JPG" data-mid="22721413" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/3/123525/4302906/IMG_3104.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload100.cargocollective.com/1/3/123525/4302906/IMG_3104_o.JPG" data-mid="22721418" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/3/123525/4302906/P5120015.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload100.cargocollective.com/1/3/123525/4302906/P5120015_o.JPG" data-mid="22721489" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/3/123525/4302906/P5120064.JPG" width="670" height="893" width_o="2048" height_o="2730" src_o="http://payload100.cargocollective.com/1/3/123525/4302906/P5120064_o.JPG" data-mid="22721505" border="0" align="left"/> For RESORT (May 2012) In collaboration with Tom Watt 7 ± 2 Sevenplusorminustwo Seven 440 x 10 cm timber planks turned into twenty-five 60 x 20 cm steps ... http://saraamido.com/Feeling-Without-Touching http://saraamido.com/following/saraamido.com/Feeling-Without-Touching Mon, 06 Aug 2012 18:28:46 +0000 Sara Amido - Visual Artist 3874915 <img src="http://payload78.cargocollective.com/1/3/123525/3874915/FWTdet.jpg" width="670" height="452" width_o="2048" height_o="1383" src_o="http://payload78.cargocollective.com/1/3/123525/3874915/FWTdet_o.jpg" data-mid="20215617" border="0" align="left"/><img src="http://payload78.cargocollective.com/1/3/123525/3874915/FWT detIII.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload78.cargocollective.com/1/3/123525/3874915/FWT detIII_o.JPG" data-mid="20215594" border="0" align="left"/><img src="http://payload78.cargocollective.com/1/3/123525/3874915/feeling-without-touching.jpg" width="590" height="885" width_o="590" height_o="885" src_o="http://payload78.cargocollective.com/1/3/123525/3874915/feeling-without-touching_o.jpg" data-mid="20215541" border="0" align="left"/> Feeling Without Touching III (After Glass Candy) 2012 Feeling Without Touching III (After Glass Candy) 2012 http://saraamido.com/Pap-Smear http://saraamido.com/following/saraamido.com/Pap-Smear Mon, 06 Aug 2012 18:11:11 +0000 Sara Amido - Visual Artist 3874840 <img src="http://payload78.cargocollective.com/1/3/123525/3874840/Pap Smear.jpg" width="590" height="393" width_o="590" height_o="393" src_o="http://payload78.cargocollective.com/1/3/123525/3874840/Pap Smear_o.jpg" data-mid="20215093" border="0" align="left"/><img src="http://payload78.cargocollective.com/1/3/123525/3874840/PS detI.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload78.cargocollective.com/1/3/123525/3874840/PS detI_o.jpg" data-mid="20215141" border="0" align="left"/><img src="http://payload78.cargocollective.com/1/3/123525/3874840/PS detII.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload78.cargocollective.com/1/3/123525/3874840/PS detII_o.jpg" data-mid="20215197" border="0" align="left"/> Pap Smear III 2012 Pap Smear III 2012 http://saraamido.com/Apos-2 http://saraamido.com/following/saraamido.com/Apos-2 Mon, 06 Aug 2012 18:01:45 +0000 Sara Amido - Visual Artist 3874832 <img src="http://payload78.cargocollective.com/1/3/123525/3874832/apos.jpg" width="590" height="393" width_o="590" height_o="393" src_o="http://payload78.cargocollective.com/1/3/123525/3874832/apos_o.jpg" data-mid="20214986" border="0" align="left"/><img src="http://payload78.cargocollective.com/1/3/123525/3874832/apos detail I.jpg" width="590" height="393" width_o="590" height_o="393" src_o="http://payload78.cargocollective.com/1/3/123525/3874832/apos detail I_o.jpg" data-mid="20214980" border="0" align="left"/><img src="http://payload78.cargocollective.com/1/3/123525/3874832/apos detail II.jpg" width="590" height="393" width_o="590" height_o="393" src_o="http://payload78.cargocollective.com/1/3/123525/3874832/apos detail II_o.jpg" data-mid="20214983" border="0" align="left"/> Após - Part I Life after life as object. 2012 Após - Part I Life after life as object. 2012 http://saraamido.com/ESTE-VERANO-TE-MATO http://saraamido.com/following/saraamido.com/ESTE-VERANO-TE-MATO Mon, 16 Jul 2012 17:36:02 +0000 Sara Amido - Visual Artist 1625649 <img src="http://payload.cargocollective.com/1/3/123525/1625649/to print.png" width="670" height="434" width_o="940" height_o="610" src_o="http://payload.cargocollective.com/1/3/123525/1625649/to print_o.png" data-mid="8402091" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/canvas.jpg" width="670" height="568" width_o="1227" height_o="1041" src_o="http://payload.cargocollective.com/1/3/123525/1625649/canvas_o.jpg" data-mid="8380670" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/1.jpg" width="670" height="563" width_o="1989" height_o="1673" src_o="http://payload.cargocollective.com/1/3/123525/1625649/1_o.jpg" data-mid="8401232" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/3.jpg" width="670" height="402" width_o="2048" height_o="1231" src_o="http://payload.cargocollective.com/1/3/123525/1625649/3_o.jpg" data-mid="8401239" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/5.jpg" width="670" height="398" width_o="2048" height_o="1218" src_o="http://payload.cargocollective.com/1/3/123525/1625649/5_o.jpg" data-mid="8401257" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/6.jpg" width="670" height="542" width_o="2048" height_o="1657" src_o="http://payload.cargocollective.com/1/3/123525/1625649/6_o.jpg" data-mid="8401263" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/4.jpg" width="399" height="549" width_o="399" height_o="549" src_o="http://payload.cargocollective.com/1/3/123525/1625649/4_o.jpg" data-mid="8401420" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/7.jpg" width="278" height="558" width_o="278" height_o="558" src_o="http://payload.cargocollective.com/1/3/123525/1625649/7_o.jpg" data-mid="8401446" border="0" align="left"/> First image courtesy of Andréz Sáez <img src="http://payload.cargocollective.com/1/3/123525/1625649/pg 258.jpg" width="612" height="902" width_o="612" height_o="902" src_o="http://payload.cargocollective.com/1/3/123525/1625649/pg 258_o.jpg" data-mid="8401946" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/pg 141.jpg" width="612" height="903" width_o="612" height_o="903" src_o="http://payload.cargocollective.com/1/3/123525/1625649/pg 141_o.jpg" data-mid="8401931" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/pg 260.jpg" width="620" height="902" width_o="620" height_o="902" src_o="http://payload.cargocollective.com/1/3/123525/1625649/pg 260_o.jpg" data-mid="8401948" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/pg many.jpg" width="625" height="902" width_o="625" height_o="902" src_o="http://payload.cargocollective.com/1/3/123525/1625649/pg many_o.jpg" data-mid="8401952" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/123525/1625649/mag2.jpg" width="670" height="522" width_o="2048" height_o="1596" src_o="http://payload.cargocollective.com/1/3/123525/1625649/mag2_o.jpg" data-mid="8401310" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/123525/1625649/you have brought.jpg" width="670" height="746" width_o="1470" height_o="1638" src_o="http://payload.cargocollective.com/1/3/123525/1625649/you have brought_o.jpg" data-mid="8402149" border="0" align="left"/> 'You have brought me overcooked rice!' 2010 First image courtesy of Andréz Sáez 'You have brought me overcooked rice!' 2010 http://saraamido.com/Play-Games-Spiele-Spielen http://saraamido.com/following/saraamido.com/Play-Games-Spiele-Spielen Mon, 02 Jul 2012 17:45:06 +0000 Sara Amido - Visual Artist 3687869 <img src="http://payload69.cargocollective.com/1/3/123525/3687869/Play Games SQ.JPG" width="670" height="444" width_o="1275" height_o="845" src_o="http://payload69.cargocollective.com/1/3/123525/3687869/Play Games SQ_o.JPG" data-mid="19146101" border="0" align="left"/> <img src="http://payload69.cargocollective.com/1/3/123525/3687869/Spiele Spielen.jpg" width="670" height="451" width_o="1417" height_o="955" src_o="http://payload69.cargocollective.com/1/3/123525/3687869/Spiele Spielen_o.jpg" data-mid="20214242" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/3/123525/3687869/Spiele Spielen -.jpg" width="590" height="885" width_o="590" height_o="885" src_o="http://payload69.cargocollective.com/1/3/123525/3687869/Spiele Spielen -_o.jpg" data-mid="20214246" border="0" align="left"/> GIOCARE A GIOCHI GRAĆ W GRY JÁTÉKOKAT JÁTSZANI JOUER DES JEUX JUGAR JUEGOS PELATA PELEJÄ SPELA SPEL SPIELE SPIELEN 2012 GIOCARE A GIOCHI GRAĆ W GRY JÁTÉKOKAT JÁTSZANI JOUER DES JEUX JUGAR JUEGOS PELATA PELEJÄ SPELA SPEL SPIELE SPIELEN 2012 http://saraamido.com/Medium http://saraamido.com/following/saraamido.com/Medium Tue, 01 Nov 2011 07:28:32 +0000 Sara Amido - Visual Artist 2235116 ------------------------------ <img src="http://payload.cargocollective.com/1/3/123525/2235116/333.jpg" width="670" height="445" width_o="960" height_o="638" src_o="http://payload.cargocollective.com/1/3/123525/2235116/333_o.jpg" data-mid="11882185" border="0" align="left"/> Photograph courtesy of Peter Fingleton 2011, Mixed Media, 50 x 50cm In this piece the focus is the cycle between different media involved in the loop of the work - their permanence and ephemerality - but also the dialogue between past, present, and future. Faking a QR code that links to an online video as an archaeological finding is a paradox which would immediately come across as fabrication to a viewer today, but would perhaps provoke some confusion for someone who might dig it up in the future. Taking something that is so quintessentially present and embodying it in a completely different context makes the piece susceptible to deceit and misinterpretation, elements which are key to this work. Entitled Medium, this piece consists of many media: sculpture, cement, smartphone, internet, youtube, video, and text. It exists in the physical world as well as the virtual; it takes up/happens in space, time, and memory. The multiple layers are the message. Medium was made specifically for Underground, a group show that took place in Basic Space (November 10-13, 2011) which involved only works that engage with the underground. A written piece about the exhibition by James Merrigan can be found here. 2011 ------------------------------ Photograph courtesy of Peter Fingleton 2011, Mixed Media, 50 x 50cm In this piece the focus is the cycle between... http://saraamido.com/Other-Interviews-with-Ryan-Trecartin http://saraamido.com/following/saraamido.com/Other-Interviews-with-Ryan-Trecartin Tue, 21 Jun 2011 16:15:54 +0000 Sara Amido - Visual Artist 1624641 The several versions of the Interview with Ryan Trecartin started with the analysis of the interview with the artist published in moreintelligentlife.com. The whole idea focuses on how the written replies might have differed from the actual oral responses Trecartin expressed. Due to the abundance of abstract concepts referred to and the complexity of the speech, the artist's voice has been computerized, sped up, subtitled and lastly humanized. For the exhibited piece, the character of the artist has actually been de-voiced and visually omitted; the replies are instead delivered in the third person by the interviewer. The conjuring up a fantasy character for the real person Ryan Trecartin based on speech directly relates to the artist's own video work. He and his friends take on several surreal identities in which language bombards the viewer (complementing alien make-up and hypnotizing video editing) at different pitches and speeds with an overwhelming density of information (or non-information). I play the interviewer and the Mac speech voice entitled Alex plays Ryan Trecartin. Same as above with subtitles. These are the lyrics from Popstar Kelis' song “Milkshake.” Ryan Trecartin is animated with the free Beema technology, being represented physically by the Beema avatar named Paul. Both voices are my own: the interviewer's is untouched and the interviewee's is altered through equally free and low quality software. This is the only version of the interview where the responses are humanised. By using natural speech there is inherently hesitation while speaking and there is also the presence of language fillers such as “uhm” and “like.” 2010/11 The several versions of the Interview with Ryan Trecartin started with the analysis of the interview with the artist published in moreintelligentlife.com. The whole... http://saraamido.com/You-Have-Brought-Me-Overcooked-Rice http://saraamido.com/following/saraamido.com/You-Have-Brought-Me-Overcooked-Rice Tue, 21 Jun 2011 12:23:13 +0000 Sara Amido - Visual Artist 1624690 <img src="http://payload.cargocollective.com/1/3/123525/1624690/DSS amido FG.jpg" width="670" height="444" width_o="1500" height_o="996" src_o="http://payload.cargocollective.com/1/3/123525/1624690/DSS amido FG_o.jpg" data-mid="7963737" border="0" align="left"/> Photograph courtesy of Peter Fingleton 2011, VINYL, 190 x 340 cm WRITTEN BY MARLENE DUMAS – EXCERPT FROM “IMPROVISE – ON THE DRAWINGS OF KEREN CYTTER” IN VIENNA, 2007: KEREN CYTTER. THE VICTIM, EXH. CAT., VIENNA, MUSEUM MODERNER KUNST STIFTUNG LUDWIG WIEN, NUREMBERG: VERLAG FÜR MODERNE KUNST NÜRNBERG, 2007 Federico Fellini was talking about how he needs an elastic scenario, and how actors who learn their part by heart make him feel uncomfortable. "What if I want to change the text? What if a new scene comes to mind? What if I feel like improvising a completely different movie? Or taking up another profession?" He watches his actors off screen eating and talking about soccer or ordinary things. So, in the movie when the actor has to say, to his love or his son, "Get out of this house", Fellini can say to him, "Please do it like the day you told the waiter, 'You have brought me overcooked rice'. Indeed, I sometimes go as far as making the actor actually say: 'You have brought me overcooked rice', instead of: 'Get out of this house'. Later on, when dubbing, you can always get that line back in." This excerpt is from a text artist Marlene Dumas wrote about her former tutee Keren Cytter. Taken out of context it also serves as an umbrella that links my three video pieces exhibited at the NCAD Degree Show 2011. Photograph courtesy of Peter Fingleton 2011, VINYL, 190 x 340 cm WRITTEN BY MARLENE DUMAS – EXCERPT FROM “IMPROVISE – ON THE DRAWINGS OF KEREN CYTTER” IN...