Morag Ballard: Strategies of Appearance (Cv/Visual Arts Research Book 141)

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It makes her opaque, inscrutable in a sense. Or which seems to be wearing her. The early self-portraits were about that — having a look at myself. Having a look was sitting on the fence a bit. Not having to reason out or entirely justify. It was never. And not just women, men too. A penis-becomes-acucumber-becomes-a-penis. A comedy of broken stereotypes, objects as bathetic stand-ins for realities they nevertheless fail to represent.

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But the tone has changed. Rather than just pairs of breasts, there are now exuberant, excessive masses of tits, as in Nice Tits And maybe it has just as much to do with Lucas having moved her residence away from London, setting up permanently with her partner in a place formerly home to the composer Benjamin Britten in a secluded corner of Suffolk.

It seems to me that a lot of ancient and tribal art still exerts a lot of power. Why is that?

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Southeastern Archaeology 1— Raymond Wood, — Du Bois Review 1: — Zimmermann WO The Gallina Architectural Forms. Arctic Anthropology 41 2 : 50— Many conceptual works take the position that art is the result of the viewer viewing an object or act as art, not of the intrinsic qualites of the work itself.

A tree exerts that power. The wind… I want to respond intuitively to things. To feel something. We all do it, but we hardly know we do it. Unlike her friend Franz West, the artist who did most to knock down highmindedness and good taste in sculpture in favour of the absurd and the abject and to whom Lucas dedicated one of the Situation shows following his death , Lucas appears to be searching for the moment. The thing being greater than the sum of its parts. The reality of charisma — transcendence. The power of an image. A glance at a high street jeweller should dispel that myth.

And clear like the truth.

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A lot of manufactured objects alert my lewd detector. Like makeup on a pretty face. Jacob Fabricius You were born and raised in Turkey.

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For the last five years you have tried to become European — or should I say become legally accepted as an EU citizen? That process and your battle with the authorities have also been the subject of artworks. What has that process been like? Its position, being divided by the Bosporus, having land both in Europe and Asia, makes the Istanbul people almost schizophrenic in a way. You can never make up your mind as to where you belong; you end up always being in an in-between state. This relationship has become even more complex for me over the past five years with me moving to Sweden, which sometimes feels like the antipode of where I come from.

Using the battle with the authorities in my work became a way of exemplifying this complex relationship. For instance, my latest work, Becoming European , shows the ways and days I have resided within the EU over the past five years.

Morag Ballard: Strategies of Appearance (Cv/Visual Arts Research Book 141)

I exist when I am in its territories, and when I am outside of its borders, I disappear. And this work stopped when I became an EU citizen. In Becoming European you stamped your European travel dates, your European history, on white paper. The dates are stamped in blue if you entered Europe as a tourist, in red if as temporary resident, purple as pending residency, black as permanent resident and finally green as pending citizenship. My partner and I were so excited to live together that when we found out that we needed to wait up to six months to get a residency permit, we thought we should just start with the immediate tourist visa.

go to site I know it takes even longer in other countries, but still, this was a very difficult situation for us. After five months I got this temporary permit and it allowed me to be in the EU for two years.

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After I used up this time, I was supposed to be eligible to apply for the permanent permit. Formally this manifested itself in the authorities stamping my passport every time we travelled to Istanbul. I find So you created this little ecosystem of a book — did a lot of people laugh when they first see this you feel that your questions were answered or did book, but then they get really serious once they more questions pop up? In your book you know there might not be clear answers. On one hand, the book is factual, these fragments, histories or narratives together do you answer that?

How did the book come about? What is being said, the book is in two parts, and there is stable relationship? I am and the vulnerable relationship entailed by wondering if they expect everybody to be married MAR: I am not scared of disappearing, at least not interacting with these systems. Is that that I know of, but I am definitely interested in the idea of genuine and stable, I wonder?

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What would often quite present in your works. Are you married?

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What is the status of it contains a diacritic letter and suddenly your MAR: The absurdities that come out of these your relationship? What happens when works but perhaps mostly in the two that you more clear on a visa application form. When I was searching for the application forms, I found these customs regulation lists, and I started collecting the objects listed.

It is of course again a parody, but it also takes its point from the reality of rules and regulations. Furthermore, it has potential in terms of creating different narratives — like, you can bring up to a thousand cigarettes along with a typewriter and a shotgun.

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It implies certain personal characteristics and enters the private in a very sneaky way. What these lists or questions asked in these forms also serve as crucial evidence of the different levels of power of different countries. MAR: …no Kool-Aid either. Do you ever feel watched or followed? If so, how and when?

What disturbs me is the act of being registered or recorded, which is certainly connected to being watched. This is something that happens to everyone and not only through governmental agencies but also through society; we record and register each other all the time. I have done this for a year and I think I appeared in photos, and of course these are only the ones I noticed. I stopped the project because it became unpleasant and too repetitive after a while, and I just wanted to break free from this obsessive behaviour of watching and registering people taking photos.

I then found a website that offers a software to remove tourists from the backgrounds of photographs, called Tourist Remover.

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You are talking about The Risk of Being in Public Have you tried Tourist Remover? So I did some very primitive research — I went through the entire Swedish dictionary while cross-checking it with the Turkish dictionary, to find the words the two languages had in common. It took four months of daily labour, and I found 1, words in total. Not really useful words, mostly terms adapted from French or English, but the striking thing was that they not only meant the same thing but were also spelled the same.

So I had all this material when Adriano Pedrosa came to visit me in Stockholm in the summer of He thought it would be great to have this work in the Istanbul Biennial. I knew that I wanted to make a soundpiece, where my partner and I would read one word after another, so you could hear the nuances in pronunciation.