When invited to contribute to this edition of Mahkuscript, artist Natasha Tontey and curator Sanne Oorthuizen decided to use this publication as a space for experimentation and learning, to actively do speculation (even though or perhaps just because this is grammatically incorrect), and to do so in the dark. This contribution, consisting of text, images, fiction, borrowed material, links (don’t forget the links, they’re everywhere!), takes Tontey’s artwork entitled The Manifesto of Tactile and Fanciful Tactics on how to build a Speculative Future through 1.0 list of an alternative and plausible cosmic solution (2018), in particular Point 0.8. in the Manifesto, as its incantation and guide while exploring the Dark Web, calling out demons and speculating about other, alternative forms living and post-capitalist futures.
当艺术家Natasha Tontey和策展人Sanne Oorthuizen受邀为本期Mahkuscript撰稿时，他们决定将这本出版物作为一个实验和学习的空间，积极地进行猜测(即使或者可能只是因为这在语法上是不正确的)，并且在黑暗中这样做。这一贡献由文本、图像、小说、借来的材料、链接(不要忘记链接，它们无处不在!)组成，采用了Tontey的艺术作品《触觉和幻想战术宣言》(the Manifesto of Tactile and fantasy Tactics)，讲述了如何通过1.0列表(2018)建立一个投机的未来，其中列出了一个替代的、合理的宇宙解决方案，特别是第0.8点。在《宣言》中，作为它的咒语和指南，同时探索暗网，呼唤恶魔，猜测其他的生活形式和后资本主义的未来。
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“Phantoms of Form” takes as it’s centre point the idea of the fictional “other” woman. The protagonist is a female figure, that has been devised to enable a distance. She is a ghost, a shadow, She is there but not present. The female form currently exists (but is not limited to) a composite of the architect Eileen Grey (1878-1976), the artist Barbara Hepworth (1903–1975) as well as myself. The life and designs of both women are used in collaboration with my own work, as an auto-fiction. In some essence, the female figure may be seen as a form of fan fiction, an extended imagined version of a real persona and her practice. The project exists as a series of chapters, 1–6, and shape shifts from print to sculptural forms, as well as spoken word. This text is taken from Chapter 6; A Phantom Limb.
{"title":"A Phantom Limb","authors":"E. Duffin","doi":"10.5334/mjfar.47","DOIUrl":"https://doi.org/10.5334/mjfar.47","url":null,"abstract":"“Phantoms of Form” takes as it’s centre point the idea of the fictional “other” woman. The protagonist is a female figure, that has been devised to enable a distance. She is a ghost, a shadow, She is there but not present. The female form currently exists (but is not limited to) a composite of the architect Eileen Grey (1878-1976), the artist Barbara Hepworth (1903–1975) as well as myself. The life and designs of both women are used in collaboration with my own work, as an auto-fiction. In some essence, the female figure may be seen as a form of fan fiction, an extended imagined version of a real persona and her practice. The project exists as a series of chapters, 1–6, and shape shifts from print to sculptural forms, as well as spoken word. This text is taken from Chapter 6; A Phantom Limb.","PeriodicalId":287102,"journal":{"name":"MaHKUscript. Journal of Fine Art Research","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128454161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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