The vivid descriptions provide readers with a sensory experience, immersing them in the artist's journey and the evolution of their art series. The decision to participate in an anti-symposium in Uddebo, organized by fellow artists Oscar and Martinka, reflects a commitment to relational art, emphasizing the importance of interaction and dialogue. The notion that the art is not visible or tactile but "livable and experimental" adds an intriguing layer to the narrative. This approach challenges traditional perceptions of art, pushing boundaries and exploring new dimensions. The essay delves into the artist's extensive experience in relational art, highlighting the appreciation for both action and inaction in the creative process. The mention of overlapping across various European cities establishes a continuity in the artist's collaborative endeavors, creating a rich tapestry of shared experiences. The portrayal of Uddebo as a blossoming, socially-oriented community contrasts sharply with the previous dodgy and decadent atmosphere. The artist's positive response to living in a socially-oriented environment rather than the typical ultra-capitalistic setting reflects a broader commentary on societal values. The contrast emphasizes the transformative power of communal living and highlights the potential for positive change.The description of daily life in Uddebo, from free meals in a club-house to leisurely swims in the river, adds a sense of intimacy to the narrative. The unhurried conversations among the artists, historians, and curators foster a deeper understanding of the themes at the heart of their work. The essay touches upon crosspollinations, teaching forms, global tourisification, and gender issues, providing a glimpse into the diverse and dynamic discussions taking place within the artistic community. The acknowledgment of the artists as exotic and volatile newcomers introduces an element of tension and curiosity within the local context. This tension contributes to the overall atmosphere of the anti-symposium, creating a dynamic interplay between the established community and the visiting artists. The essay closes with a contemplation on the idea of living together as art, drawing on the influence of artists like Smithson and conceptualists who championed the idea that the concept itself is enough. The reflections on the quality and intensity of encounters, the landscape, and the past and future of art in relation to the ongoing process in Uddebo leave readers with a sense of anticipation. The essay's mention of social tension and social capitals adds a layer of complexity, hinting at the potential for both challenges and growth in the community. In conclusion, the essay successfully weaves together the artist's personal journey, the unique artistic experiment in Uddebo, and broader reflections on the nature of relational art and communal living. The narrative engages readers with its rich descriptions, thought-provoking ideas, and a sense of openness to the evolving nature of art and community.
DOING AND NOT DOING AS DOING_______________________
___________________________ANTI-SYMPOSIUM
https://antolloveras.blogspot.com/2018/07/iron-wateranti-symposium-by-bobrikova.html
