Tag Archives: ragpickers

Ragpickers and liminality

Following on from my interest in Mark Bradford I have started to read around the liminal figure of the ragpicker.

WASTE MATTER – THE DEBRIS OF INDUSTRIAL RUINS AND THE DISORDERING OF THE MATERIAL WORLD

Chapt 1 Rubbish- Histories, Values, aesthetics

Ragpickers and Leftover Performances

‘But how does the ragpicker make the historical leftover perform? The ragpicker is a liminal figure, literally living at the fringes of society: in Paris, they resided in shanty towns on the edge of town as part of the community of zoniers (‘zone’-dwellers or those living in the transition space between the city and countryside)’

performative leftovers

‘The ragpicker, first, stands for the undoing of established historiography and the institutions that support it. Aleida Assmann has pointed out that the rubbish dump and the archive, while seemingly each other’s opposite, are inextricably connected. The limit between  the archive and the rubbish dump marks the limit between what is and is not deemed of cultural value, and for that reason, archive and rubbish heap ‘can be read as emblems and symptoms of cultural memory and forgetting’ (Assmann 2006: 384, my translation). Refuse is what the archive refuses. For Assmann an archive of rubbish would make ‘the invisible as such, namely the basic structures of the cultural production of value and non-value, visible’ .’

the ragpicker’s diligent archiving of waste is not only a symbol for challenging existing master narratives in cultural memory, but also for the undoing of the conditions of possibility that enabled these master narratives. As Philip Rosen wrote: ‘the only way to recover the elements excluded from conventional historiography is to reject its form and terms’ (Rosen 2001: 15).

The Archivist of Urban Waste- Zoe Leonard, Photographer as Rag-Picker

Aleatory encounters- a rumination on trash and new materialist ontologies

The Madrid Ragpicker Pio Baroja

 

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Mark Bradford and Theaster Gates

Two artists who are becoming increasingly important for me, both of them have socially engaged practices and work with found materials.

I like the way Mark Bradford references Asger Jorn contra American abstraction, questioning the dominant historical discourse in painting.

Theaster Gates has more of a Duchampian gesture, redeploying objects and materials sometimes on a vast scale but always with a critical strategy.

What this opens up for me to an increasing extent

  • Use of found materials
  • Ready mades

An Artist_s Mythic Rebellion for the Venice Biennale – The New York Times

Three Artists Who Think Outside the Box – The New York Times

Theaster Gates: Using the Art Economy to Funnel Funds to Underserved Communities | Art for Sale | Artspace

Mark Bradford Maps the Suffering of Bodies

Mark Bradford interview white wall

Mark Bradford parkett