manik vauda marija manik nikola pilipovic
Since 2002
Works in United States of America

ARTBASE (1)
BIO
Belgrade artists Marija Vauda and Nikola Pilipovic have been
collaborating as MANIK since 1999.Their work reflects the
march of history, sometimes literally outside their studio, and a
dialogue with the international artistic community through
organisations and events such as Rhizome and Free Manifesta. Tiija is
their first weblog piece, their previous work has been in mediums as
diverse as video, performance, happenings, email, painting and
installation.

Discussions (1017) Opportunities (0) Events (0) Jobs (0)
DISCUSSION

do you ?


w hwhat do you want?

MANIK

DISCUSSION

WITH THE NAKED EYE-Cris Ashley


http://www.chrisashley.net/weblog/archives/cat_html_drawing.html
They are what they are & Layers
The daily performance of Chris Ashley's weblog is loaded by successive cha=
nges in construction that can be seen as a two-way text in space set in the=
unfolding now of a stream of consciousness. It is constituted by an HTML t=
able and supplements of non-esthetic information. It is this that we introd=
uce under the concept of layers because it is this that has resolutely been=
evaded in the realization (construction) of the very HTML tables - estheti=
c information. Layers thus refer to the date, name, text or poem-explanatio=
n added to the HTML.

It is the additions - the comments which translate, shift the work into per=
formativity (event): Time as History. It happened!

HTML Propositions and directions are given in layers and refer to the objec=
t-HTML ("All drawings start with a small table, say 18 x 16, with each cell=
20 x 20 pixels, everything is on the grid, right angles only, no diagonals=
; everything is hard edged; there are a limited number of colors -216 web s=
afe colors; although one can make more than 216 colors, the number of color=
s actually viewable varies a lot from monitor to monitor") The act of const=
ructing HTML tables belongs to the process of pleasure. Within the chosen f=
ramework there is a daily ritual confirmation of vitality-serializing: modu=
les-units-cells are geometric forms mutually linked into line and surface s=
tructures (Sol LeWitt,Eva Hesse,Robert Morris) and inserted into the proces=
s of a time unfolding-weblog. The idea of serial art appears at the interse=
ction of modernistic autonomy of the discipline of painting (sculpture) and=
post painterly strategies. The repetition confirms -'the supreme principle=
of small differences'- a paradigm of limited supplies of units-colored squ=
ares, while the units of the paradigm, are similar as much as it is needed =
for the difference which separate them to be instantly be visible. For exam=
ple 'It is necessary for the squares on Mondrian's paintings to be simultan=
eously corresponding square forms, but of different sizes and colors-. The =
supply of units-cells is limited (".... I enjoy the limitations and boundar=
ies because I am presented with a set of solutions that I can't do anything=
about, that I accept") by the number of colors - colors frozen in an alter=
native by their size- in a frozen alternative of relations in a chosen alte=
rnative that rhetorically establishes a specific space - the way space is o=
rganized is decisive for subjectivity. Identities are partially constructed=
by the kind of space they exist within, which is here phallocentric, linea=
r, ascending and affirmative in the tradition of the modernist paradigm.

LAYERS reveal the links and ways of bonding between the units-modules of vi=
sual tables and they open the access to the lateral (if for a second we hav=
e taken the position inside HTML) notes-intrusions. Ashley's own text-layer=
takes on one method of criticism when it chooses one or the other place fo=
r the act-the activity-the space: fragments, German language verbs, Zen Bud=
dhist concepts, names of places in Mexico, 'places where I have slept', bod=
hi, untitled and finally: in memoriam to Susan Zonatg who advocates (this w=
here Ashley locates his stand) an noncritical critique based on the documen=
tal and the act, impersonal and organisational approach and procedure, in w=
hich the artist or the critique him/herself is the collaborator in the arti=
culation.

Textual additions-layers do not break down nor deconstruct the poetic and m=
etaphysical ideals of modernisms. Everything has already taken place and is=
a challenge, a debt to 'official history'. To go back always, to confirm a=
nd add, add, add, because to stop speech means to step out into an irretrie=
vable process.

Thus, the 'intrusion' or the import, most often, of a distant Other - that =
is sunk into history, myth or death. The beginning of conflict is located i=
n the domain of language. The place/the time-the outer world about which th=
e poet TU FU who lived 1000 years ago spoke, leads us and becomes the curre=
nt place of concern about each part of the creativity process. This reflect=
ion on technique is put in the place of the distant Other, into the field o=
f exceptional concern, for the very reason that the technique is the very e=
ssence of all creativity. Dating, the daily inscription into time and for t=
ime, is in the tradition of On Kawara's 'I'm still alive'. The edge place-t=
he directions for looking are the titles- aggressively associative forms.

INTERTEXTUALITY The language conflict between pleasure originating from the=
mantric discipline which uses limitations and noises coming from outside- =
the rest of the world, is solved by colonization-importation-appropriation =
of the Outer-Other (civilizations that built their longlivety and anciency =
through the intuitive, meditative, htonic by which the continuation of both=
sides is established. Although they are imminently separated, they reveal =
something or somebody, which is quite illegible in the very object (HTLM) f=
rom the point of view of the outer, the transient-siginifiant.
The result of this esthetic contemplation is not new knowledge but totality=
of experience. The place of the paradoxes-plot-meaning-limitation has neve=
r been in the merging of the texts, visually organized compositions of tabl=
es and language commentaries (images and words). One stream of consciousnes=
s-visual information flows and fill-comply to the destiny-inertia of formal=
systems that are analytic and do not depend on representing the outer worl=
d. The pictorial autonomy of abstraction organizes the interior in a linear=
way while the plot; events and information come from the exterior. Pleasur=
e is always with the Other and thus Ashley does not give it to the Hero (HT=
LM) nor to the Herald (layers), thus not to anyone or anyplace apart from t=
hat which has already been chosen-imported-appropriated to be the Other.

THE PASSIVE SPACE The procedure for taking the mantric form ("A sacred verb=
al formula repeated in prayer, meditation...

DISCUSSION

WITH THE NAKED EYE-Cris Ashley


http://www.chrisashley.net/weblog/archives/cat_html_drawing.html
They are what they are & Layers
The daily performance of Chris Ashley's weblog is loaded by successive cha=
nges in construction that can be seen as a two-way text in space set in the=
unfolding now of a stream of consciousness. It is constituted by an HTML t=
able and supplements of non-esthetic information. It is this that we introd=
uce under the concept of layers because it is this that has resolutely been=
evaded in the realization (construction) of the very HTML tables - estheti=
c information. Layers thus refer to the date, name, text or poem-explanatio=
n added to the HTML.

It is the additions - the comments which translate, shift the work into per=
formativity (event): Time as History. It happened!

HTML Propositions and directions are given in layers and refer to the objec=
t-HTML ("All drawings start with a small table, say 18 x 16, with each cell=
20 x 20 pixels, everything is on the grid, right angles only, no diagonals=
; everything is hard edged; there are a limited number of colors -216 web s=
afe colors; although one can make more than 216 colors, the number of color=
s actually viewable varies a lot from monitor to monitor") The act of const=
ructing HTML tables belongs to the process of pleasure. Within the chosen f=
ramework there is a daily ritual confirmation of vitality-serializing: modu=
les-units-cells are geometric forms mutually linked into line and surface s=
tructures (Sol LeWitt,Eva Hesse,Robert Morris) and inserted into the proces=
s of a time unfolding-weblog. The idea of serial art appears at the interse=
ction of modernistic autonomy of the discipline of painting (sculpture) and=
post painterly strategies. The repetition confirms -'the supreme principle=
of small differences'- a paradigm of limited supplies of units-colored squ=
ares, while the units of the paradigm, are similar as much as it is needed =
for the difference which separate them to be instantly be visible. For exam=
ple 'It is necessary for the squares on Mondrian's paintings to be simultan=
eously corresponding square forms, but of different sizes and colors-. The =
supply of units-cells is limited (".... I enjoy the limitations and boundar=
ies because I am presented with a set of solutions that I can't do anything=
about, that I accept") by the number of colors - colors frozen in an alter=
native by their size- in a frozen alternative of relations in a chosen alte=
rnative that rhetorically establishes a specific space - the way space is o=
rganized is decisive for subjectivity. Identities are partially constructed=
by the kind of space they exist within, which is here phallocentric, linea=
r, ascending and affirmative in the tradition of the modernist paradigm.

LAYERS reveal the links and ways of bonding between the units-modules of vi=
sual tables and they open the access to the lateral (if for a second we hav=
e taken the position inside HTML) notes-intrusions. Ashley's own text-layer=
takes on one method of criticism when it chooses one or the other place fo=
r the act-the activity-the space: fragments, German language verbs, Zen Bud=
dhist concepts, names of places in Mexico, 'places where I have slept', bod=
hi, untitled and finally: in memoriam to Susan Zonatg who advocates (this w=
here Ashley locates his stand) an noncritical critique based on the documen=
tal and the act, impersonal and organisational approach and procedure, in w=
hich the artist or the critique him/herself is the collaborator in the arti=
culation.

Textual additions-layers do not break down nor deconstruct the poetic and m=
etaphysical ideals of modernisms. Everything has already taken place and is=
a challenge, a debt to 'official history'. To go back always, to confirm a=
nd add, add, add, because to stop speech means to step out into an irretrie=
vable process.

Thus, the 'intrusion' or the import, most often, of a distant Other - that =
is sunk into history, myth or death. The beginning of conflict is located i=
n the domain of language. The place/the time-the outer world about which th=
e poet TU FU who lived 1000 years ago spoke, leads us and becomes the curre=
nt place of concern about each part of the creativity process. This reflect=
ion on technique is put in the place of the distant Other, into the field o=
f exceptional concern, for the very reason that the technique is the very e=
ssence of all creativity. Dating, the daily inscription into time and for t=
ime, is in the tradition of On Kawara's 'I'm still alive'. The edge place-t=
he directions for looking are the titles- aggressively associative forms.

INTERTEXTUALITY The language conflict between pleasure originating from the=
mantric discipline which uses limitations and noises coming from outside- =
the rest of the world, is solved by colonization-importation-appropriation =
of the Outer-Other (civilizations that built their longlivety and anciency =
through the intuitive, meditative, htonic by which the continuation of both=
sides is established. Although they are imminently separated, they reveal =
something or somebody, which is quite illegible in the very object (HTLM) f=
rom the point of view of the outer, the transient-siginifiant.
The result of this esthetic contemplation is not new knowledge but totality=
of experience. The place of the paradoxes-plot-meaning-limitation has neve=
r been in the merging of the texts, visually organized compositions of tabl=
es and language commentaries (images and words). One stream of consciousnes=
s-visual information flows and fill-comply to the destiny-inertia of formal=
systems that are analytic and do not depend on representing the outer worl=
d. The pictorial autonomy of abstraction organizes the interior in a linear=
way while the plot; events and information come from the exterior. Pleasur=
e is always with the Other and thus Ashley does not give it to the Hero (HT=
LM) nor to the Herald (layers), thus not to anyone or anyplace apart from t=
hat which has already been chosen-imported-appropriated to be the Other.

THE PASSIVE SPACE The procedure for taking the mantric form ("A sacred verb=
al formula repeated in prayer, meditation...

DISCUSSION

family list-wet holes


Old Testament-Jonah in whale intestines (http://www.answers.com/topic/jonah)
New Testament-Jesus in tomb(http://www.orthodoxy.org.au/eng/index.php?p=8=
6)
Birth-Mother's uterus(http://www.unis.org/UNIScienceNet/ReprodSyst_knowledg=
e.html)
Artificial conception-Artificial conception technique(http://homepages.ihug=
.co.nz/~Sfindlay/yrds/insm.html)
Ancient Egypt-birth from water(http://www.ucpress.edu/scan/ca-e/172/griffit=
h.172.pdf)
Mesopotamian culture-between rivers(http://www.v-a.com/ashurai/sept-11a.htm=
l)
ETC...
We don't need to go far from wet holes.Was God's mud wet or dry?
Culture is dry,life's wet.
Question is:CULTURE or LIFE?
MANIK

DISCUSSION

Re:Rhizome_Raw:Re:Re:Re:Re:Re:Re:Re:Re:Re:...


Do:MANIK:Do:Do:Do:Do:Do:Do:Do:Do:Do:Do...