What possibilities for political transformation can be opened up through imagination, fantasy, and art? Can the left create instrumental change or is the game rigged? This week artist and writer Jacob Wren considers these questions, as well as ideas about the artist as political activist and the balance between egoism and conciliation in collaborative projects.
“Sometimes I think that the secret ingredient in art is art. Another thing that has come to the forefront of my mind over the years is how little room for art there is in art; how much of the structural and institutional ways of thinking in and around art keep out what I think of as art. For me art has to be something where you don’t know everything about it when you start. What I’m trying to do when I make work […] is discover something that I’m not entirely able to articulate.” – Jacob Wren
Wren, Jacob, Polyamorous Love Song, Toronto: Book Thug, 2014.
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What possibilities for political transformation can be opened up through imagination, fantasy, and art? Can the left create instrumental change or is the game rigged? This week artist and writer Jacob Wren considers these questions, as well as ideas about the artist as political activist and the balance between egoism and conciliation in collaborative projects.
“Sometimes I think that the secret ingredient in art is art. Another thing that has come to the forefront of my mind over the years is how little room for art there is in art; how much of the structural and institutional ways of thinking in and around art keep out what I think of as art. For me art has to be something where you don’t know everything about it when you start. What I’m trying to do when I make work […] is discover something that I’m not entirely able to articulate.” – Jacob Wren
Wren, Jacob, Polyamorous Love Song, Toronto: Book Thug, 2014.
The Secular Sacred: The Primordial Hum of the Earth (The Secret Ingredient – 01/10/14)
The Secret Ingredient
57 minutes 10 seconds
10 years ago
The Secular Sacred: The Primordial Hum of the Earth (The Secret Ingredient – 01/10/14)
Shawn Van Sluys discusses the non-supernatural sacred in relation to artistic practices. He identifies the sacred as the source of new meanings, a genitive creativity ultimately rooted in the great and deep vibrations of the earth, which Shawn calls the “first metaphor.” Hear about Ursa Major, Robert Bringhurst's polyphonic mask for singers and dancers centered on the sacredness of the bear in many civilizations. Consider how art can help us reckon with the three flaws of humanity: mortality, groundlessness, and insatiability. Reflect with us on green spaces as the darkness between the stars of a constellation, setting ourselves in relation as retrieving ourselves, and the way we warm knowledge in our bodies.
Bringhurst, Robert. Ursa Major. Kentville: Gaspereau Press, 2009.
Certeau, Michel de. “Walking the City.” The Practice of Everyday Life. 3rd Revised Edition ed. Berkeley: University of California Press, 2011. (April 30, 2014)
Joudry, Shalan. Generations Re-Emerging. Kentville, Gaspereau Press, 2014.
Reines, Ariana. Mercury. New York: Fence Books, 2011.
The Secret Ingredient
What possibilities for political transformation can be opened up through imagination, fantasy, and art? Can the left create instrumental change or is the game rigged? This week artist and writer Jacob Wren considers these questions, as well as ideas about the artist as political activist and the balance between egoism and conciliation in collaborative projects.
“Sometimes I think that the secret ingredient in art is art. Another thing that has come to the forefront of my mind over the years is how little room for art there is in art; how much of the structural and institutional ways of thinking in and around art keep out what I think of as art. For me art has to be something where you don’t know everything about it when you start. What I’m trying to do when I make work […] is discover something that I’m not entirely able to articulate.” – Jacob Wren
Wren, Jacob, Polyamorous Love Song, Toronto: Book Thug, 2014.
