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何颖雅 elaine w. ho


制作摸泥摸泥摸泥
How to Make Moni-Moni-Moni
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half-made balls
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Each workshop lasts approximately four hours, during which time a former student of Master Kayo of Kyoto, Japan, will lead participants in learning the technique of making shiny mo-ni, a alchemic process whereby mere dirt, water and the contemplation of the artwork creates a polished wonder to hold dear for a lifetime. No matter the imperfectness of the sphere or its mottled terrain, participants will gain in that comparative sense of pride with which all our notions of value and capitalist competition are based.

The topics set forth during these kinds of meditative acts allow for a gentle interplay between a free flow of thought and teacherly instruction, the affectionate chastising of others’ work and the occasional bite of lovers: “You can stop talking now.” Interludes of silence are comfortable moments of concentration, the hands in motion while we think round thoughts. It is a round-a-bout way to discuss contemporary art and value creation, another chuckle over the money that we’re missing and the reverberations of one curator's comment that we lay some far outside from “what’s going on”. But it is an understandable inconspicuousness to position oneself also, in addition, alternative, marginal. This externality to the core leaves us feeling insecure, slight. But why? It was his premise from the beginning that these should not be hierarchical estimations, and rather, we had been discussing art and democracy, art and anarchy. Perhaps these things are not so far off from panel discussions of the sort, but we seek form from our politics, like the organisation of ever smaller grains of mud and sand. So small that they reflect light on their surfaces. Shiny mud balls. Value and importance are self-created entities, perhaps overdetermined, like the roundness of a mud ball made smooth and glossy by caring hands.
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Workshop hosted in conjunction with the Also Space2 exhibition, C-Space, Caochangdi Beijing / 1-16 May 2010. Thank you to Reinaart Vanhoe.
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