is a book of anonymous wishes that have been collected from around the world via Internet, fax, mail, written and spoken. All together these wishes link our common desires, pain, joy, and hopes in a poetic rant that accents humanity’s similarities more than differences. Included are wishes by Tibetan refugee children in India. The children’s wishes provide the book with a call for peace and compassion that is universal. The wishes marked the passage of time into the next millennium as a global action within a public art project and is one of the first books to be produced through responses on a web site..
The Wish Machine Travels 1995-2009
Synopsis: This book consists of over 60 color photographs charting Chrysanne Stathacos's extraordinary artistic practice that, over the course of the past 14 years, has conflated spiritual and aesthetic concerns in interactive performances and installations from New Delhi to Toronto. Images of her Rose Mandalas, Wishing Trees, and Wish Machines are interspersed with photographs documenting other memorials and ritual sites where people have engaged in prayerful meditation. With written contributions from Peter Nagy, Christopher Isherwood, AA Bronson, Jennifer Fisher, Jim Drobnick, Marcus Boon, Heike Strelow, and Amy Lipton.
48 C Public Art Ecology
The first festival of contemporary public art to be held in Delhi took place in December 2008 as a combined initiative of the Goethe-Institut/Max Mueller Bhavan and gtz. The festival was curated by Pooja Sood.
The Latent City
The Latent City (Documentary, 56 mins. 2009) directed by Krishnendu Bose captures India’s first public art ecology project, ‘48°Celsius’ that took place in December 2008 in New Delhi. Curated by Pooja Sood, the objective of this project was to interrogate the teetering ecology of the city through the prism of contemporary art. In this project, eight politically charged spaces were identified to be excavated and be transformed by the artists from different parts of the world. It investigates the ongoing debate around the disabling of publics and public spaces and nudges us to re-examine the latent citizenry in a metropolis like Delhi. It also urges to re- imagine the future of our cities through the ‘eye glass’ of public art. The artists who participated in this project include Friso Witteveen, Haubitz & Zoche, Ravi Agarwal, Sheba Chhachhi, Vivan Sundaram, Mary Miss and Chrysanne Stathacos.
“Odor Limits” is curated by Jim Drobnick and Jennifer Fisher, founders of the Toronto, Canada curatorial collaborative DisplayCult. The artists all have worked extensively with scent, pioneering its use in contemporary art. They include Oswaldo Maciá (London), Jenny Marketou (Athens/NewYork), Chrysanne Stathacos (Toronto/NewYork) and Clara Ursitti (Glasgow).“The distinctive qualities of scent – such as its evocativeness, intimacy, variability, primality, evanescence and so on – turn out to be quite attractive to artists,” stated Drobnick. “Because scent is unexpected in the visual art experience, it can give rise to works with a surprising element of directness and complexity,” added Fisher. The works use actual and imaginary scents in video, performance and interactive installations, including a visitor’s project that extends out into the community.
Using the theory that the act of wishing often reveals one’s desire for transition, Grand Central Station emerged as a poignant site for artist Chrysanne Stathacos’s project The Wish Machine. Wrapped in the image of a wishing tree from India, the customized vending machine dispensed wish packets, little plastic baggies with a printed photo collage depicting a plant that evoked the essence of the wish and a small vial of the plant’s essential oil, extending the wishing ritual into a multisensory experience for the recipient. Intentionally located in busy Grand Central station, Stathacos’s wishes were offered with the intention to conjure the desires of the urban commuter–however restless or varied those might be. Stathacos’s project was commissioned in conjunction with the 1997 Day With(out) Art
In 1999 Heike Strelow curated "Natural Reality" at the Ludwig Forum in Aachen, Germany. This exhibit was an international overview, which expanded the concept of ecological and environmental art and its range of effort to include the human body as a site of "natural" inquiry. The accompanying exhibition catalog provides cogent arguments for the three areas of the exhibition — the unity of man and nature, artists as natural and cultural scientists and nature in a social context.
Curated by Jennifer Fisher and Jim Drobnik
"Vital Signs explored how the non-visual senses are being both interrogated and reconceived in contemporary artistic practice. This exhibition -- held in conjunction with the international conference, "Uncommon Senses: An International Conference on the Senses in Art and Culture," at Concordia University -- featured artworks that addressed the subtle but powerful links between the senses, lived experience and aesthetic meaning."
What's The Use
Curated by Heather Nichol
This show explores the notion of use in aesthetic experience. Many artists since Duchamp have altered the everyday object by placing it within the art viewing arena, often distorting or otherwise stripping it of its original function. “What’s the Use?” investigates the flip side of this phenomena, where, in our fast-paced lives, the art experience doubles up and attempts to fulfill some other need as well. While the masses have been “serviced” by certain artists in the public domain, this exhibition focuses on projects of a more personal, private nature. Stepping aside from more familiar expectations of art (the purely aesthetic/formal, the introspective or psychological, the politically informative/activist, etc.) in an often playful way, the artists here may be asking of the art object, "What have you done for me lately?" At what point is it no longer art? What is the use of the aesthetic experience at all?
Lady Day Lord Night with Andrew Zealley
At Printed Matter, NYC and Art Metropole, Toronto
Inspired by the wishing trees of India and Japan, Chrysanne Stathacos will transform the tree outside of Printed Matter (one of Joseph Beuy''s 7000 Oaks
) into a surprise wishing-tree for meditation. Visitors will be invited to sit on a meditation bench designed by the artist and attach wishes. In Toronto, Andrew Zealley will present a sound installation in the doorway of Art Metropole that will function as an audio cleansing for those entering the organization.
Women, Art and Technology
By Judy Malloy. MIT Press
Although women have been at the forefront of art and technology creation, no source has adequately documented their core contributions to the field. Women, Art, and Technology
, which originated in a Leonardo journal project of the same name, is a compendium of the work of women artists who have played a central role in the development of new media practice.
Le multiple d'artiste, Histoire d'une mutation artistique: Europe, Amérique by Océane Delleaux
This investigation relates to a multiple (object) and "other" multiple (print and recordings) of artists.
Where the practice and the market multiple "other" multiple experiencing resurgence in the mid-1980s, the subject matter experts first analyze their internal characteristics and omit some of the existing body by choosing predominantly editions limited and confidential. However, part of artistic practice reveals new modes of production and distribution of multiple "other" multiples since the mid-1980s in France and abroad. They are helped by the diversification of means of artistic expression, the spin spaces of practice and dissemination of publications and new relationships between original work of art and industrial production.
Collaboration with Candy Factory / Takuji Kogo
I wish to by you