Lala Rascic is based between Edinburgh and Perth during Summer 2007, creating new process-based work as part of the Edinburgh Art Festival. The artist is creating artefacts and documentation which are presented via the ARC Projects web site, and evolving over the period of the residency for later exhibition in a gallery setting. Lala is keeping a journal of her residency in the form of a blog. You can read Lala's blog here.

Considering media, public and private space is pretty dull until it happens to you and the flooding in Oxford presented an opportunity to swim in the medieval intricacies of the usually mundane dialogue between being and nothingness. Hmm.

demat_patrickdemat_kate
http://www.gloriousninth.net/invisibility_phial

Show-in-a-box 1994

Issue #1: What would it mean to win?

Turbulence is a journal-cum-newspaper that we hope will become an ongoing
space in which to think through, debate and articulate the political,
social, economic and cultural theories of our movements, as well as the
networks of diverse practices and alternatives that surround them. The first

The process of picking up the threads of a project from 14 year ago, Faux Conceptual Art, is quite interesting. I’ve been framing the works, re-photographing them and creating new pieces. Looking at four works I see similar themes and ideas emerging. The pieces, Fibonacci Series With Calculators, Sit On, Price List and Not Here, have never been exhibited other than being presented on the web. This is a very strange idea. The whole web site, Faux Conceptual Art is a work that is a proposition. It is also in some measure a critique of the art market. Since re-engaging the works I am plodding along at a leisurely rate like a sort of anthropologist trying to piece together what I was thinking. This becomes fairly interesting because the world has changed, art discourse has advanced, and I have gone through many stages in that time.

Oppenheim Sunburn Remix -1993
I’m looking at the works I did fourteen years ago to understand what I was trying to get at. The works were done as I was beginning to work with the internet. One of the web sites I created was called Faux Conceptual Art. I was thinking about the burgeoning business of counterfeit products such as watches and designer label products coming from China. Since I live a few blocks from Canal Street in New York, I am aware of all the counterfeit products being sold on the street. I thought that the fakes were a very interesting by product of globalism. They also functioned as a linguistic game. The game is about a shift in the idea of creativity. It also extends the 1980’s discussion of appropriation into the 1990’s debate about intellectual property. The shift in creativity is subtle. This also has it’s basis in the famous essay by Walter Benjamin, Art In The Age of Mechanical Reproduction. What Benjamin says is that art loses its’ “aura” when it is reproduced. The discussion is about the qualities of an artwork. This presupposes that art is about a unique object, a masterwork. The copy supposedly has no “aura.” What conveys uniqueness or the quality of art to an artwork? This becomes a central question for every generation of artists.