R E S I D E N C Y

C A T A L O G U E

2 0 1 4

WWW.FLOATINGREVERIE.CO.ZA

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CONTENTS

Contents .............................................................................................................................................................. 5

Floating Reverie .................................................................................................................................................. 7

Notes on //2WEEKS............................................................................................................................................. 8

Interview with Layla Leiman (Between 10 and 5) ............................................................................................... 9

Residency List 2014 ........................................................................................................................................... 15

//2 Weeks January 2014 ............................................................................................................................. 16

//2 Weeks January 2014 ............................................................................................................................. 18

//2 Weeks February2014 ............................................................................................................................ 20

//2 Weeks February2014 ............................................................................................................................ 22

//2 Weeks March 2014 ............................................................................................................................... 24

//2 Weeks March 2014 ............................................................................................................................... 26

//2 Weeks April 2014 ................................................................................................................................. 28

//2 Weeks May 2014 .................................................................................................................................. 30

//2 Weeks June 2014 .................................................................................................................................. 32

//2 Weeks July 2014.................................................................................................................................... 34

//2 Weeks August 2014 .............................................................................................................................. 36

//2 Weeks September 2014 ....................................................................................................................... 38

//2 Weeks October 2014 ............................................................................................................................ 40

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FLOATING REVERIE

Floating Reverie is a digital online residency started in early 2014 by Carly Whitaker who acts a

curator/programmer and is supported by Nicola Kritzinger who acts as a producer and creative consultant for

the program.

Floating Reverie has hosted eleven individual artists and two collectives to date, with two of the artists using

the networked platform to collaborate actively. The residency reiterates the scope and potential of networked

media for an integrated and innovative networked creativity.

//2Weeks is the title of the residency and happens every month. Artists are invited to respond online to the

brief You have 2 weeks. 14 days. 336 hours. 20 160 minutes. What will you do? and produce or (check-in)

online every day for two weeks. The residency is not location-specific and exists solely in the digital world,

which can be an empowering aspect for many artists. //2Weeks seeks to provide a space and platform for

digital artists to experiment, create and produce.

Artists are presented with a framework, guidelines and conditions and encouraged to explore it repeatedly,

dynamically changing their creative process daily.

This catalogue presents the artists and collectives who were selected to participate in the residency over this

year, their conceptual statements behind their residency and a few screen shots of each residency.

Visit Floating Reverie online - www.floatingreverie.co.za.

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NOTES ON //2WEEKS

Floating Reverie has been an ongoing experiment during the year. Each residency and artist has brought a new

dynamic to the process and added insight to the framework. The residency has naturally and expectedly

shifted towards a process orientated, research residency as opposed to a conventional residency which would

be focused on the art object or exhibition.

The artists process is often removed from the final showing of a work. It can be treated as a mystical and for

his or her own eyes. It is not often that in the process the audience or viewer is involved or necessary. This

residency process breaks with these conventions.

Carly Whitaker

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INTERVIEW WITH LAYLA LEIMAN (BETWEEN 10 AND 5)

Floating Reverie | An Online Digital Art Residency

October 7, 2014

http://10and5.com/2014/10/07/featured-floating-reverie-an-online-digital-art-residency/

Floating Reverie is an online experiment in digital arts curation and a residency programme. It is the brainchild

of digital artist Carly Whitaker and arts writer and historian Nicola Kritzinger. The main component of Floating

Reverie is a 2 week online residency programme which different artists are invited to partake in. The intention

being to create new avenues for artists to create and exhibit work in the digital space and to begin

questioning how, where and for whom art exhibitions are curated.

How did the idea for Floating Reverie initially come about?

CW: The idea for Floating Reverie was a result of my own frustration with being a digital artist and having a

limited number of exhibition platforms and residency options available. I wanted a platform to showcase my

work, engage with other likeminded artists and a place to draw from a network.

NK: Carly and I had been talking about the opportunities available for emerging artists in South Africa, and

internationally for a long time. There are options but an artist generally needs money, ability to travel and

access to a great number of resources to participate in applying for these opportunities. In South Africa there

are still few opportunities for digital artists and little acknowledgement of their work by the establishment. A

desire to create a platform for digital artists in South Africa resulted in Carlys idea to start a digital art

residency.

How did you settle on the dreamy name?

CW: It is dreamy. I wanted something that evoked a sense of mystery and wonder about something magical

and spoke to the digital medium. Reverie is a sort of fanciful musing, dreaming or imagining while a float is

type of data, it is floating-point number, which means it is a number that has a decimal place. Floats are used

in programming when more precision is needed as opposed to whole numbers. I suppose then the name is

about a magical, precise dreaming which is exactly what Floating Reverie is a digital imagining.

Can you each please tell us a little about your background, what attracted you to working with the other,

and what you each feel you bring to Floating Reverie.

CW: We met at university and have always gravitated towards each other. I am a digital artist and lecturer. I

have an interest in developing networks and engaging directly with them through my artworks. Nicola and I

have worked together on lots of different types of projects collaborating and assisting each other just makes

sense!

NK: The first project Carly and I worked on together was a stop-frame animation at university. We discovered

that we work really well as a team, so weve been working together ever since. Carly runs the Floating Reverie

program and every now and then I assist her with curatorial aspects. I have several years of exhibition

experience so I help when it comes to bringing the project from the digital to the gallery space. Were learning

how best to do that, because were so used to conventional exhibitions, and were really trying to push those

boundaries to accommodate the digital. Im also writing about the project for publication.

What are the different projects/components that make up Floating Reverie?

CW: The //2Weeks residency program is currently Floating Reveries main focus. The residency offers the

opportunity for post digital exhibitions. We want to develop a network of digital artists that we can all draw

from, collaborate and develop together. It is important for networks like this to be accessible and to continue

to grow.

NK: We held an exhibition at the beginning of 2014, which was fun and taught us a lot about what we want to

do and what we need to change. Implementing exhibitions doesnt have to cost money, but it always helps to

have support, something were still looking for.

Please tell us about the //2weeks residency the specific timeframe, the types of projects that are suited,

etc.

CW: It is a remote residency which happens over a 2 week time period, once a month, every month. Because

the residency exists online, it means artist dont have to travel to Johannesburg to participate but rather they

practice and implement their project from their location. Artists are asked to respond to a specific brief You

have 2 weeks. 14 days. 336 hours. 20160 minutes. What will you do? Time. Were asking artists to respond to

how they perceive time in their own context, their practice and their process through a specific medium. The

selected artist for the month is asked to check in daily on any online platform a blog, Facebook or Youtube

etc. Weve set up a conceptual framework and a platform for networked collaboration and production and it

really is up to the artists how they wish to interact within that framework.

NK: From recent statistics we know that only 41% of South Africans have access to the Internet and only 10%

have regular access. Most people access the Internet through their smartphones, so we really want to make it

easier for artists to participate in a residency, using their phones to update their chosen platform even if they

dont have regular Internet access. The digital divide is still a big issue in developing countries and we want to

attempt inclusivity in as many ways as possible, so that more artists can participate.

Whats the application/selection criteria who can apply to take part in //2weeks?

CW: Currently it has been by invitation only; we have selected a variety of artists from within our existing

network and have reached out to new artists too. It has been a great experience. We are going to open the

platform up to a broader network next year artists, creative and digital practitioners from the continent.

NK: There are a vast number of practising artists all over the African continent and were hoping to attract

some of those artists to apply. Instagrammers, Tumblr and Youtube participants stem from all over Africa and

this residency can offer them exposure and a platform. Were also hoping to create artist networks through

the process. We encourage our participants to collaborate with other artists.

Whats more important in the //2weeks residency the creative process or a final outcome?

CW: Thats an interesting question, its something we constantly grapple with every time we read a proposal or

start a residency with a new artist. The process becomes the final outcome through the accumulation of work

and production. As the artists progress through the residency their work changes and interacts with the work

they have already done. They start to curate a range of works that speak about the process as well as the work

created. The individual artworks are interesting but the project is often more powerful as body of work. I think

what really helped us understand this was actually participating in the residency ourselves it gave us a

deeper understanding for what we wanted to achieve or what could be achieved within the framework we set

up.

NK: I agree with Carly, by participating in the residency, we gained a much deeper understanding of what we

were asking of the artists who participated after us, so we could offer much stronger support systems for their

output. In arts practise, I think the process is integral to the outcome and that the two are inseparable.

Do all artists extend their projects into post-digital physical exhibitions?

CW: Currently we have had one post-digital exhibition but we plan to have more. We are trying to use the

post-digital exhibitions as a space to challenge and consider the way digital artists exhibit their work. We are

also concerned with ensuring that the exhibitions capture and retain the essence of the residencies.

What kinds of dialogues are being explored and created through this cross-media evolution?

CW: Each selection of an artist and their proposed project is the beginning of a conversation. Selecting artists

such as Bianca Bondi who is based in Paris and originally from Johannesburg, Maaike Bakker who is based in

Johannesburg and Francois Beaurain who is originally from France and travels extensively and participated

from Athens. These artists illustrate the scope for the residency. Each residency was so different. This selection

also speaks about a specific globalisation and spreading of information through a network. Once the residency

is finished, the conversation doesnt end, they individually start to speak to each other. This was particularly

present in Tegan Bristow and Joo Orecchias residency where they drew on each others practices. Orecchia

responded to Bristows creative code experiments with sound experiments based on Bristows data. It is this

type of dialogue and conversation that the digital medium and an online platform makes super interesting.

NK: There are always a great number of dialogues that happen around any project or exhibition. As I previously

touched on, the digital is something that rests in the realm of the privileged so its a politically charged realm

due to the expense of technology and the lack of access. Access and its politics are inextricable from not only

the digital but also from art.

In many ways Floating Reverie is a curatorial experiment can you each share your thoughts on this.

CW: It definitely is a curatorial experiment. I feel like the curation happens on various levels. First we select the

artists and then they start to curate their own residency. For me it is about networked production and

curation. We are at the centre of the network, yet we all exist in relation to the next residency and what came

before its such a dynamic and interesting model.

NK: There is often no dividing line between the role of artist and curator in South Africa. I have found that

many artists also curate. The residency is fun because in essence, we are providing an online gallery space in

which the artists curate two weeks worth of their practise. Challenging the conventional ideas around what

constitutes gallery space is something that Carly and I are both interested in, and something the Kalashnikovv

Gallery also participates in. We are working out how to break free from the tropes associated with the white

cube. The idea of an Okwui Enwezor, all powerful curator, isnt something that really appeals to me. I enjoy

the idea of dialogue and involvement that stems from involving many different people in the curatorial

process.

In what ways does Floating Reverie engage with, interrupt and reinterpret the ways in which artworks are

exhibited, viewed and engaged with?

CW: It does all three in a big way. The Internet enables us to broaden the scope of our audience we are able

to share our featured artists artworks through social media and our website. The residency/artworks are not

viewed in a gallery, they exist online that is their primary site of engagement. Reinterpreting and challenging

a conventional white cube happens as a result of the medium. The vision for Floating Reverie and specifically

//2Weeks is to provide a platform for artists and subsequently we reinterpret the way in which artworks can

be produced and exhibited.

NK: We must reinterpret the conventional because of the unconventional media we work with. There is little

that one can do with limited facilities, but the dream is to create a new experience and a new way of engaging

with the art produced. Carly and I talk about how to do this every time we have new artwork come into the

residency. We want to engage our audience in the way that best displays the artwork and coveys its intention.

In a way we have to question how we have used the Internet and how other people use it, and then try to

interrupt the methods that were used to.

Based on your respective backgrounds what appeals to you about the digital space and digital art?

CW: I love the scope that it affords you as an artist and how it is so intrinsically linked to contemporary culture.

We come from a generation who may be considered as digital natives, so much of who we are is rooted in the

digital medium, online, on television etc. and filters through our lives and our own networks. In my own work, I

love being able to capture that effect and interaction using the medium.

NK: My primary concern when it comes to art is accessibility, and the digital affords the means for access,

should we use it to provide access. It blows my mind that I can see the whole Percival David collection from

the British Museum on their website. My love for the digital stems from animation and gaming, interactivity

and the digital really excite me. I also love memes, sites like 9gag define our generations humour. So much of

popular culture stems from the supposed nonsense that happens on these Internet forums.

Please tell us a little about the relationship between digital art and the Internet. Is there one?

CW: Definitely. Internet art or Net Art has been around pretty much since the beginning of the Internet. Artists

such as Olia Lialina and Heath Bunting paved the way in the beginning. The Internet offers such a complex,

reflective and interactive medium for artists to experiment and engage with. There are many artists in South

Africa and across the continent engaging with it, //2Weeks gives these artists a necessary place to show their

work and engage with the medium.

NK: A really formative moment for me in considering digital art was when Tegan Bristow introduced us to

Artcontext.org and Lexicon by Andy Deck in 2007. The Internet is Integral to digital art. I love that the Internet

is democratic in so many ways, that anyone can post their work, and anyone can be an artist in the digital

realm if they engage with it and identify themselves as such.

The residency is something Carly and Nicola hope to continue for a long time, developing it further as they go.

Theyd love your feedback or if youre interested in helping support them in any way please get in touch

floatingreverie@gmail.com or whitaker.carly@gmail.com.

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RESIDENCY LIST 2014 January Nicola Kritzinger relevant written works

http://2weeksnk.tumblr.com/

Carly Whitaker #WORKBITCH

http://2weekscw.tumblr.com

February Bianca Bondi Lights Out

http://2weeksbb.tumblr.com/

Leanne Shakenovsky Galleries of Gold

http://2weeksls.tumblr.com/

March Sober & Lonely Daily Strength for Daily Needs

http://dailystrengthfordailyneeds.tumblr.com/

Cuss Group

http://cussgroup.com/digital_residency.html

April MJ Turpin the in process online research component of the escape from self

http://2weeksmjt.tumblr.com/

May Anthea Pokroy i collect gingers data

http://2weeksap.tumblr.com/

June Tegan Bristow codelines

http://fourteencodelines.tumblr.com/

July Joo Orecchia Floating Processes

http://floatingprocesses.tumblr.com/

August Maaike Bakker A manual for constructing a virtual monument

http://www.maaike-bakker.com/2WEEKSMB

September Francois Beaurain Athens

http://www.fbeaurain.com/Athens.html

October Tabita Rezaire () LOOK @ HER BUTT () digital thoughts on twerk

https://www.youtube.com/watch?v=CaQ1BIZukrA

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//2 WEEKS JANUARY 2014

Nicola Kritzinger

Nicola Kritzinger is a writer and an art historian. She works from Johannesburg most of the time and is in the

process of pursuing her PhD with a focus on historical Chinese artifacts in South Africa, investigating the place

these objects hold in the countrys cultural heritage. She holds a Masters in Art History from the University of

the Witwatersrand during which she focused on post-modern archival theory and the study of art collectors,

considering their contribution to public access and cultural understanding.

With several years of institutional experience, Kritzinger has a significant interest in curating, artist promotion

and sales. A lifelong involvement in the art world has stirred a great appreciation for South African and

international art, and a desire to contribute to the discourse that surrounds it.

relevant written works

http://2weeksnk.tumblr.com/

I propose time relevant written works that track productivity and the way in which I utilize and understand

time.

I propose a very personal look at the way that I feel I have spent my time over the last few years and the way I

would like to spend time differently this year. I propose to write theory-based texts that have philosophical

tangents about time and the meaning of time within ones own context.

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//2 WEEKS JANUARY 2014

Carly Whitaker

Carly Whitaker is an emerging digital practitioner based in Johannesburg, South Africa specialising in digital

interactive media. She is an artist, researcher and lecturer. She completed her MA in Digital Interactive Media

which in early 2012 and currently lectures at Open Window in the Interaction Arts Department. She has a

specific interest in the digital as an artistic medium in South Africa and is currently extending her practice and

theoretical research into these new areas.

#WORKBITCH

http://2weekscw.tumblr.com

This project is called WORKBITCH and is based on an initial project which I began called Daily Data. For this

project I tracked and monitored my daily actions and activities over a set period of time. The aim of the project

was an ironic way of legitimising my daily actions and to prove to myself how productive I was really being. It

was a laborious and deliberately boring task which justified my actions, or lack thereof, as an artist. I looked

specifically at my routine, my journeys, my activities, what they resulted in and where I went all of which are

no more interesting from the next person.

For this project I would like to take two weeks of my data and transform each day into a Gif producing a gif a

day. The data will cover 2 weeks from 2 October 2013 16 October 2013. My anxiety, need, desire to produce

was highlighted during this project and subsequently Britney Spearss song Work Bitch was released. This

title is hilariously appropriate for both my own experience of the project as well as a general societal desire to

achieve, maintain a certain lifestyle and be successful.

Each Gif will be titled according to the corresponding date eg.WorkBitch02102013.

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//2 WEEKS FEBRUARY2014

Bianca Bondi

Preferring to work directly in situ or otherwise with objects that either come almost directly from the earth

itself, or have passed through many hands, for Bondi the process of creation remains deeply intuitive. She

relates it to the collective subconscious and the less easily explained elements of present life. She works with a

specific list of ingredients, which she likes to keep on hand salt, earth, a variety of stones and then adapts

these elements to the situation at hand.

I am interested in promoting a dialogue created upon an encounter of the organic and the inorganic, ready to

be played off the personal experiences of the person with whom it is now confronted.

Born in South Africa, Bondi is based in Paris, France where she completed her studies at lENSAPC in 2012. Her

work has been exhibited in Poland at Ujazdowski Centre of Contemporary Art, in multiple locations across

France, the US, as well as in Belgium, South Africa, and at Bandjoun Station, Cameroon.

Lights Out

http://2weeksbb.tumblr.com/

It creeps

Not up upon you,

Rather around, always there, inch wor ming closer

As gene rative as the land yet barren in its meth

odical breath

Its

In the background

the subtle nudging of an ocean

with the rigourous efficiency of a sudden stop

Stand Still

I dare you.

Whereas Dylan would rage Plath would beckon

Those god damn clocks

Mesmorise

Its been years now

I cant stop

those god damn clocks

And yet,

Lonliness,

the obsolete constant

well, it did not

tick

It was

The One

thing

beside you

all this

time.

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//2 WEEKS FEBRUARY2014

Leanne Shakenovsky

Leanne Shakenovsky was born in 1986 in Johannesburg, South Africa. She received her Bachelor of Fine Arts

Degree (honours) from the University of the Witwatersrand in 2008. Following this, she spent time in London

and worked on cruise ships as an art associate for Park West Gallery. On her return to Johannesburg in 2011,

Leanne began working as a cataloguer and junior paintings specialist for Strauss and Co-Fine Art Auctioneers

and consultants. This greatly informed her art practise. Leanne left Strauss and Co in May 2013 in order to

pursue her career as an artist. She has exhibited in several group shows and presently lives in Johannesburg

where she works from her Assemblage studio in Newtown. Leanne is currently working on various projects,

although glitter, Perspex and laser cut wood remains her primary media.

Galleries of Gold

http://2weeksls.tumblr.com/

This project is based on my obsession with others obsessions with wealth, triumph and materialism.

The beginning of this year saw my need to allow my art production greater experimentation and spontaneity. I

created a heap of poured gold made from liquid foam and gold glitter. Ironically, I felt restrained by the

process. Like all my previous work, I felt that in production, I had to be rigid and measured.

Each day of the residency I will place the sculpture in different art galleries/museums in the city of

Johannesburg, photograph the scene and track my journey. The commonality between the different locations

is that they are commercial institutions selling art. I plan for my points of interest to be set out before the

process begins. I look forward to embracing chance opportunities, unexpected interactions and possibilities

within the organised framework.

I will create a Tumblr blog solely for the purpose of this project and check in daily with my photographs.

I look forward to investigating the relationship between the digital and the physical-that my sculpture will live

on in its own tangible form, physically as temporary public art and digitally as more permanent public art.

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//2 WEEKS MARCH 2014

Sober & Lonely

S&L has been a mobile platform since 2011. We organised projects and exhibitions at friendly institutions and

art spaces in Johannesburg, Durban, Los Angeles, Finland and the Netherlands, and hosted artists in residence

at a big old house in the northern suburbs of Johannesburg. In 2013 we purchased a 1968 model fold-up

caravan to legitimise calling ourselves a mobile platform. As of 2014 the Institute is based at 66 4th Avenue in

Melville (the caravan is parked there too!), a suburb just west of the Johannesburg CBD. Even though we

(temporarily) have a more architecturally sound home base, we are still curious and view the Institute as

malleable.

Daily Strength for Daily Needs

http://dailystrengthfordailyneeds.tumblr.com/

Sober & Lonely would like to return to an online conversation started in 2009. Facing another period of

separation we initiated a blog entitled Daily Strength for Daily Needs as a means to share ideas and keep in

regular contact. At the moment, we (Lauren von Gogh and Robyn Cook) have no time to really engage with

our project because of work, marathon training and studying. As such we would like to start the project again

(perhaps as a tumblr) and use it as an open-ended and discursive conversation; a means to plan, to create a

resource archive, to have regular contact.

The posts would happen as often as necessary (at least once a day) but would take the form of a conversation

between the two researchers. The outcome or final project will be driven by the process and the fluid nature

of the conversation. We cant tell you where it will go, or what it will lead to, but we can tell you it may or may

not include cats, telepathy, running, cheese, camping, caravans, 24-hourness, spontaneity, teleportation,

monkeys and/or dogs.

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//2 WEEKS MARCH 2014

Cuss Group

http://cussgroup.com/digital_residency.html

For this residency we propose to produce a digital time collage. With the focus on the element of time

during this residency, we would like to create a moving image collage that is slowly built up over the 10 day (2

week) period. The focus as with all of our work will for now be loosely based on South Africa. Looking at the

past and the present in context to each other, themes that will arise would be that of the idea of mass culture

and the socio-economic rift that impacts it, the idea of informality within day to day life and the dislocation

within communication and technology. These themes will not only reference image but also influence visual

treatment of the time collage.

We will archive still image and motion, in a frame by frame gif style of animation, and build up this time

collage so that the various themes and treatments that make up the composition all interact with each other

to illustrate a certain perspective of the South African situation. In order to make this work we might find it

easier to construct the final composition and then recreate this image step by step over the duration of the

residency. Once completed we intend to allow for the time collage to loop either back and forth or to follow a

linear progression. We would also like to elude to the idea of 3 dimensionality perhaps playing with a red and

cyan colour parallax on certain compositional layers. Text might also be a further layer to add emphasising this

depth of field.

Through this gradual build-up of this composition it will not only allude to the idea of time passing but will also

directly relate to where we started then to where we are now all in context to South Africa.

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//2 WEEKS APRIL 2014

MJ Turpin

In a body of work in progress, MJ Turpin is currently exploring contemporary forms of escapism such as the

Internet,drug addiction,religion and death citing notions of time travel and creating work in a black void. The

relationship between objects, space, cyberspace and invisible space becomes a metaphor for purposefully

avoiding both societal reflections and theoretical norms within artistic practice in South Africa at this time in

his practice - 2014 to ......

MJ Turpin (M18J92T) was born in Johannesburg, South Africa. He received his BA Fine Art (Honours) from the

University of the Witwatersrand and has participated in numerous local exhibitions at spaces such as

Johannesburg Art Gallery, Circa, Nirox Project Space, Goodman Gallery and several other international

exhibitions in Belgium, France, Australia and Taiwan. He currently directs his own project space and gallery in

Johannesburg called Kalashnikovv Gallery.

the in process online research component of the escape from self

http://2weeksmjt.tumblr.com/

lucky you, two weeks of musing on thoughts i have over creative voyeurism///narcissism in the digital realm

and by extension nowaday reality is a selfie by an artist, art in its self? art being a reflection of self at any

given time? this is quite literally literal. Ai wei wei loves cats, takashi murakami loves to eat. Ron English

loves himself GaGa loveswell, herself too. is knowing to much as dangerous as knowing to little.In the

end does anyone really give a fuk, dont we all just wanna consume something///anything anyway? bon

appetit and kill yourself. xxo

PS This is the in process online research based component of a series of work i am currently physically

manifesting entitled the escape from self

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//2 WEEKS MAY 2014

Anthea Pokroy

Anthea Pokroy is a ginger artist based in Johannesburg, South Africa.

She was born in 1986 in Johannesburg and, apart from spending time in London from 2008 until 2010,

continues to live and work there. She obtained her BA Fine Arts from the University of the Witwatersrand in

2007 and graduated cum laude.

She works primarily in photography as well as in video, installation and performance. She has taken part in

many group exhibitions since 2005, including shows at The Bag Factory Artists Studios, Museum Africa,

Gordart Gallery, the Alliance Francaise and many independent group shows until 2012. She has participated in

the Martienssen Prize in 2005, 2006 and 2007, Absa LAtelier Awards in 2007 and 2008, and Sasol New

Signatures in 2010. Recently, in 2013, she had her first solo exhibition entitled I collect gingers at CIRCA on

Jellicoe.

i collect gingers data

http://2weeksap.tumblr.com/

My most recent project constituted a two and half year long process of collecting redheads. This work

manifested at my first solo exhibition, I collect gingers, at CIRCA on Jellicoe in Johannesburg in January 2013.

This project received a large amount of national and international interest and participation. It is this

participatory practice (and crowd-sourced artwork) that I intend to pursue in my work, currently through the

development of other random archives. In the last year after exhibiting this body of work, I began to develop

an interest in data; how it can be visualised and interacted with; and how this process pushes my original,

satirical intention of classifying and reducing people to a statistic, colour or type. Over the next 14 days during

my //2weeks residency, I intend to further analyse, collate, and manifest in various ways, the data that came

from these 500 gingers.

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//2 WEEKS JUNE 2014

Tegan Bristow

I am an Interactive Media Artist and Lecturer at the Digital Arts Division of the Wits School of the Arts,

Johannesburg, South Africa.

Outside of lecturing at Wits (see my Academic page), I develop and promote a local technology arts scene.

Often this means helping someone make something work, but it also means research and project

development within a growthing cross-over practice in art, technology and culture.

I am currently writing my PhD (or see my PhD page) with the Roy Ascott in the Planetary Collegium at

Plymouth University. Research taking place within the continent on Technology Arts & Culture Practice: South

Africa, Nigeria and Kenya. A four year project starting November 2011 and ending in 2015.

codelines

http://fourteencodelines.tumblr.com/

Draw a straight line and follow it a quote by La Mont Young, the American musician and minimalist

composer, whos spirito-mathematical music is made of semi-stationary waves and slowly evolving amorphous

sounds. I am no composer but am a coder of little bits of art in computers. For me the basis for coding is

deriving instructions for the computer to visually manifest, much like La Mont Youngs. In this floating reverie I

will be writing lines of code and following them, like drawing a straight line and following it, one piece will lead

to the development of the next as I sketch out lines of code. These two weeks should produce 14 code

sketches some more different than others, but all with experimental outcomes.

This line may very well keep drawing, Joao Orecchia who starts half way through my reverie, may choose data

generating and looping in these bits of code to produce lines in waves of sound, forming extended audio

forms.

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//2 WEEKS JULY 2014

Joo Orecchia

Joo Orecchia is an artist and self-taught non-musician who has been making music for many years. His

fascination is in squeezing sounds out of anything and layering them on top of other sounds squeezed out of

other things. From guitars to manipulated circuits and banjos to field recordings.

He has been exploring ideas of randomness and perceived meaning, composition using found sound and field

recordings and creating graphic scores. Through experimentation and improvisation Orecchia investigates the

physicality of sound, seeking a balance between computer technology, handmade electronics and real world

sounds such as the human voice and traditional musical instruments.

Orecchia performs with his band Motl Mari which includes Mpumelelo Mcata and Tshepang Ramoba of BLK

JKS, as well as improvised music with the likes of Lukas Ligeti, Jill Richards and Joseph Suchy. The album

Eternal Peasant by Joo Orecchia's Motl Mari will be out on vinyl and download in July 2012 on Other

Electricities.

Orecchia also contributes heavily to the building of networks in alternative sound practice in Johannesburg by

curating events that engage artists, musicians and public in a collaborative, experimental spatial relationship

with the city. Invisible Cities fleetingly inhabits transitional spaces, creating momentary realities and exposing

hidden layers of possibility for what life in Johannesburg might be like with a bit of imagination.

Floating Processes

http://floatingprocesses.tumblr.com/

Composer Steve Reich spoke about Music as a Gradual Process, where musical compositions are themselves

processes, and sought to make these processes audible. A process in this case is a set of rules or parameters

over time, devised pathways through which to send sonic material. A kind of labyrinth, which will give form to

a composition.

For my two week long Floating Reverie, I will be creating processes in response to another participant, Tegan

Bristows experiments in code. The resulting loops of sound might be seen as an echo, an extension of a

process, a process informed by another process. I find it fitting that Bristows works are created in a

programming language called Processing

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//2 WEEKS AUGUST 2014

Maaike Bakker

A manual for constructing a virtual monument

http://www.maaike-bakker.com/2WEEKSMB

For the duration of two weeks (17.08.2014-31.08.2014) I will undertake the construction of a virtual

monument, offering previews of the progress online, or more specifically on the digital platforms Pinterest,

Twitter and my own portfolio site.

The monument, which as the title suggests, serves no agenda, and comes as virtually packaged consisting of

14 parts and accompanying instructions allowing the follower to replicate each of its parts in Adobe Illustrator

in order to ultimately construct his/her own version. These 14 parts are gradually shared on Pinterest, Twitter

and Tumblr on a daily basis, up to the point of the monuments completion.

Followers may choose to participate and apply the provided daily instructions (tutorial) to build their own

version and can ultimately choose to disseminate their monument (with no agenda) through sharing it on

Twitter/Pinterest, allowing it to be planted by other users and thereby slowly expanding its futile presence.

The progress can also be observed in an automatic pop up window which appears when visiting the my

portfolio site maaike-bakker.com. The virtual monument ultimately occupies the users desktop space through

its automatic pop-up appearance, resembling the manner in which internet spam high-jacks a users navigated

web experience, yet with no real purpose.

Finally, once the monument is complete in its full virtual form and ready to inhabit the web like any other

image that may or may not be shared, it lives out its non-agenda and continues to assert its presence, or

quietly continues to occupy its inactive corner in the web.

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//2 WEEKS SEPTEMBER 2014

Francois Beaurain

Francois Beaurain is a French artist based in Paris but traveling most of his time. Autodidact, Francois plays

with several techniques (drawing, photography, sculpture and collage) that he adapts to the country hes

visiting or the people hes meeting. His work can be seen on his website: www.fbeaurain.com.

Athens

http://www.fbeaurain.com/Athens.html

There are many ways to travel and many ways to experience a country and its culture. It is not only a question

of why you go and how long you stay but it is mostly about what you do and with whom you meet. You can be

either a tourist, a backpacker (same as tourist but you replace the tour operator by a Lonely Planet), a sailor, a

vagabond, a refugee, an immigrate (you came for work), an expat (youve been sent for work)

After 18 months spent in Liberia as an expat, I arrived in July in Athens and I think I have never felt so much as

a tourist in my life. Ive been living in Paris for more than 20 years and I have never climbed the Eiffel tower. I

lived many years in Italy and literally ran away from the touristic hotspots. Oddly, since I am in Athens, my life

is organized around the Acropolis area where I stayed. I somehow feel it as a shame of being a tourist but I am

getting used to it and enjoying it. Moreover as a tall blond guy there is no way for me to escape from my

condition, so why shall I fight.

I want to dedicate this art residency to my touristic condition and to the tourist industry. Greece is a touristic

hotspot and I am going to treat it as it is.

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//2 WEEKS OCTOBER 2014

Tabita Rezaire

TABITA REZAIRE is a Danish-Guyanese artist-filmmaker and video curator now based in Johannesburg. She

holds a Master in Artist Moving Image from Central Saint Martins College, UK. Both her research and practice

focus on the political aesthetics of resistance in and through video and new media practices. She engages in

cinematic urban intervention and digital activism, producing videos, screenings and leading camera workshops

in marginalised urban environments. Exploring the performativity of encounters, on and offline, she addresses

issues of sex, race and gender confronting media stigmatisation and occidental hegemony. Tabita is also a

founder and curator of 35A collective.

() LOOK @ HER BUTT () digital thoughts on twerk

https://www.youtube.com/channel/UCwcriLCE5VE0E7bOMxnquHA

- What do u watch on YouTube?

- Twerk videos

- lol

Twerk Miley! Twerk Miley! This is where they said it all started, at least for the mainstream westerner viewer.

Clicking, scrolling, sharing those booties shaking till twerk becomes global and gets into the Oxford dictionary.

From traditional African dances, to the Bounce music scene, hip-hop and now mainstream pop, who is

appropriating what? For who? And what are the cultural, social and political consequences?

Whether it is seen as mere cultural appropriation, as a sign of women empowerment or objectification, as an

obscene phenomenon corrupting our youth or rather a spiritual movement liberating our ass, twerk is a

complex theoretical playground.

For Floating Reverie residency Im making my own YouTube Twerk Channel filling the screen with butts, critical

theory, pop politics aesthetic inviting Internet users and Johannesburg encounters into the conversation.

As Juicy J says Keep twerking baby, might earn you a scholarship.

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