Eyal Edelman
Gwen Bajon


>>> please see the updated calendar for details of events!


LOCATION:  Michael Archer's talk is set to be at Goldsmith's College on March 5th
(confirmed through Louise)

LOCATION: for student lectures on 12th March tbc! Who can offer their place/studio?
>People who give lectures hand out materials on the 13th March

CONFIRM: Jo Lathwood & Emma Gradin (preliminary) please confirm this for 19th March - we need to plan alternative content if this date isn't working for Jo/Emma

>Discussion on 20th Feb
>Plan Actions on 5th March
>Review actions on 20th March >>>>> finalise & DO IT!

presentation of past projects since 2005

Eyal presented a really interesting survey of his projects since 2005 including work with the collectinve 'EIFO DANA'(form hebrew: WHERE IS DANA - something to do with his famous lost dog in Israel) the documenation show an interesting range of fine art and designer/maker projects.

The title of the presentation was 'ONE-OFFS' - referring to the diversity within the projects.

The discussion found structures and 'physical' challenges to be a common denominator/interest in Eyals work.

Eyals most recent project "EVERYBODY IS A CRITIC" which is part of his MFA course at Camberwell College of Art had a lot of interest and Josef Beuys' manifesto "Everybody is an Artist" was referenced in conjunction/ as a juxtaposition. 

Eyal sees this project as a 'tongue in cheek' approach to engage people with artwork, extract opinions and feedback - a liberation/elevation of every viewer to become a critic so to speak and a chance for the artist to receive outspoken and specific feedback.

One of Eyal's projects - more so the preliminary drawing of it - was said to resemble 'The Large Glass' by Marcel Duchamp - here is the Wikipedia text about it:

The Large Glass

Duchamp worked on his complex Futurism inspired piece The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) from 1915 to 1923, with the exception of periods in Buenos Aires and Paris in 1918–1920. He executed the work on two panes of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, plotted perspective studies, and laborious craftsmanship. He published notes for the piece, The Green Box, intended to complement the visual experience. They reflect the creation of unique rules of physics, and a mythology which describes the work. He stated that his "hilarious picture" is intended to depict the erotic encounter between a bride and her nine bachelors.

The piece was inspired by a performance of the stage adaptation of Roussel's novel Impressions d'Afrique which Duchamp attended in 1912. Notes, sketches and plans for the work were drawn on Duchamp's studio walls as early as 1913. In order to concentrate on the work free from material obligations, Duchamp found work as a librarian while living in France. After emigrating to the United States in 1915, he commenced his work on the piece financed by the support of the Arensbergs.
The piece is partially constructed as a retrospective of Duchamp's works, including a three dimensional reproduction of his earlier paintings Bride (1912), Chocolate Grinder (1914) and Glider containing a water mill in neighboring metals (1913–1915), which has opened for numerous interpretations. The work was formally declared "Unfinished" in 1923. Going home from its first public exhibition, the glass broke in its shipping crate. Duchamp repaired it, but left the cracks in the glass intact, accepting the chance element as a part of the piece.

Until 1969 when the Philadelphia Museum of Art revealed Duchamp's Etant donnés tableau, The Large Glass was thought to have been his last major work.

!!! For next week's student lectures here are two short videos of Eyal's work for review!!!

Meeting adjourned & May the Fox be with you ~ G