Cameron Bishop All images by the artist. Cameron Bishop: TheĀ gaze IĀ inhabit comes packaged with a list of tickets to events that others are just locked out of. It goes without saying that this comes straight out of cultural theory 101,…
Author: avantika
The Theatrics of Games: Craig Drennen on Basketball and The Bard
Sarah Walko Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better. āSamuel Beckett Out of Tune Beckettās quote on failure, professional basketball and The Bard of Avon all mingle together inside the studio of visual artist Craig…
Review: Germaine Koh’s League
Louise Rusch Germaine Koh. League, ongoing since 2012, Participatory Project. Image courtesy the artist. League, Germaine Koh’s ongoing game-invention project, is based in Vancouver’s Elm Park field house, originally the park caretaker’s residence. Everyone enters through the front door into…
Composite Fields (2015) on āNothingnessā and Mu
Sarah Stefana Smith Disparate parts form a constellation of three. Third, is a means to an end and surrounds my life as a runner. Running as experience notes a collection of cathartic rituals, if you will, that leave me contemplating…
Swimming My Way to Failure
Sandy Gibbs āHail the great swimmer! Hail the great swimmer!ā the people shouted. āFranz Kafka, Fragments When I was young, more than anything else in the world I wanted to be an Olympic swimmer. I canāt swear to the longevity…
The Italic I (Studio as Gymnasium)
The Italic I is a practice-based collaboration between writer-artist Emma Cocker and interdisciplinary artist Clare Thornton, that explores the various states of potential made possible through purposefully surrendering to the event of a repeated fall. Within our artistic investigation, the act of falling is apprehended consciously as a training exercise for both mind and muscle, tested out in physical, cognitive, and even linguistic terms. Our inquiry comprises an attempt to capture and communicate the event of falling visually and linguistically, through the prism of performance, photography and the generation of a poetic lexicon. The studio or gallery is approached as a gymnasium within which to practice falling; however, the purpose of practicing is not towards a telos, the perfection of a given move or some future performance. Rather, falling is repeated in a move towards deeper understanding, for becoming more sensitized to the experience, more attuned to its risings and falls, its intensities and durations. In these terms, the athleticism inherent within the activity itself becomes a means for increasing oneās capacity (as it is practiced), for producing unexpected forms of embodied knowledge and augmented subjectivity.
I Would Rather Be the Worst at Something Than the Best: Athleticism and Masculinity in Contemporary New Zealand Art
Victoria Wynne-Jones Over several decades, US-based coach Greg Glassman developed a fitness regime known as CrossFit, the aim of which is to āforge a broad, general and inclusive fitness.ā[1] Designed to optimize fitness through constantly varied functional movements performed at…
Addiction, Therapy and Sport in Infinite Jest
Ira Halpern āā¦types like the Ennet House types are just the sorts of people Pemulisās talents let him get away from in terms of like social milieu and mixing and transacting; and his basic attitude with these low-rent employees is…
A Critique of Self-Concept and Youth Sport Reconsidered
Joel Nathan Rosen A decade prior, the author examined the extent to which contemporary critiques of sport reflect an increasing tendency to equate sport with pathology, especially in terms of the discussion of youth participation and the interpretations of the…
States of Grace
Rachel Rampleman Born and raised in the suburbs of the Midwest, Ramplemanās various bodies of work explore subjects like gender, artifice, and spectacle through the tinge of a very American lens. Part directorial, part curatorial, and part anthropological, she probes…