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nclude bodily materials semen blood belly button lint hair how did you come to these materials and with what processes did you apply them to the canvas are you ejaculating or bleeding directly on the paper or are you collecting these fluids and using them like more traditional art materials adam milner i ve been thinking a lot about bodily traces the marks and residues we leave behind as we live i think drawing is a very natural endeavor and that everyone not just artists are constantly leaving behind marks on surfaces emma dexter says to draw is to be human and i think there s something true there so i ve been mining the body for a lot of my drawings these substances come from looking at what sort of drawings my body already makes all the time semen on a sheet an accidental prick of blood a loose eyelash falling to the table as well as asking what materials i can mine from myself a way to self sustain i recently learned that medieval artists working on illuminated manuscripts would sometimes use their own ear wax to give substance to the pigment instead of egg yolk i m thinking of these materials somewhat like that as accessible regenerating and personal but also having certain specific material properties and certain cultural significance the drawings are so intimately made often in bed or in my lap and so it just made sense to begin pulling the material directly from bodies some drawings are very solitary and almost hermetic while others are much more social for instance now a friend might hand me an eyelash across the table when they notice it on a cheek and there are certain people i know who produce a lot of bellybutton lint which i try to barter for when i see them as for how they re made i think drawings say enough for themselves already it s something i love about drawings that they contain so much information every act of making the drawing is contained on the page they re transparent unsecretive untitled blood and plastic on paper 11 x 8 5 2016 paul weiner what have you found to be your favorite bodily material to work with adam milner it really varies each material has so much embedded in it i might approach a material with a very specific memory or association only to later remember its more cultural or political implications or learn about its historical usages and then be seduced by its materiality and strangeness or beauty and then remember another specific memory again it s an exciting thing to juggle all these various ways to relate to a material right now blood is really interesting to me it s such a powerful substance so loaded and so valuable and personal i like that i have this precious material in my body but that nobody wants i can mine myself and it will replenish and regenerate yet it s almost dangerously cliche to work with and i like that challenge too i approached blood initially as this continually replenishing and beautiful material only to realize how obviously political it is because of my sexual identity i m not allowed to donate blood and it s amazing to me how i have this really valuable and important substance that nobody wants i think about how when i was 16 people would come to my high school and take pints of our blood kids blood and then sell it blood reminds me of the complexities of who controls the body who really owns it and what it s worth these are strange questions i often feel victimized when i think about blood but yesterday i spilled a lot of blood onto a pillowcase and it looked like a murder scene it was the first time the blood had looked so violent i somehow had previously avoided aggression or violence in the blood drawings but looking at the blood spilled and splattered like that i couldn t get recent news out of my mind unarmed people being shot cold in the street because of their race or the murder involved with war everything about the body is political and blood reminds me of that i m realizing that to make these works is a huge act of privilege looking at a lineage of art history it s easy for me to see these materials as drained of their potency but at the end of the day these things are what they are using this material is equally personal formal political blood contains everything nowhere voyage still from video hd video looping and artifacts found and recreated 2015 nowhere voyage installation at museum of contemporary art denver in now now paul weiner for your performance piece in the fung wah biennial which is essentially a road trip from manhattan to various east coast cities during which artists intervene with the passengers you dropped a vase in front of the bus and let it shatter how did you come to plan this action adam milner that work conversation around a pot involved an improvised phone call i made while on the bus while sharing these really intimate stories and experiences over the phone nearby passengers could hear snippets receiving a sort of fragmented narrative of loss longing the confusing blurring of bodies that happens when one attaches to an object all the while on this two hour bus ride i was clutching this handmade ceramic pot only for it to smash upon our arrival that moment of loss and of breaking was important for me to share with those who had been on the bus as well as passersby it s a hard performance for me to understand or digest still creating this moment of the pot breaking united me with the people around me somehow and was also somehow a betrayal of their trust even while they were strangers it s part of a larger investigation around what performance in everyday life looks like i m really excited about moments i see throughout the day moments in public space that shake me out of my head that make me see the world a little differently or moments that feel like a strange gift i saw this guy walking down the street bopping his head with headphones on and as he passed this long building his blue and white north carolina tarheels head to toe outfit matched the building exactly and he walked along the building for like five minutes just perfectly matching it and i wondered if he was even aware of this moment for me it felt like seeing a shooting star so i m doing a lot of new performances in public space things that are unannounced and can exist quietly as part of the fabric of the city some of the performances are for people in rush hour traffic what if i continue to accidentally break a beautiful pot at the same time and place each week creating a loop or forced deja vu for commuters another work involves working with performers to cry in public spaces like chipotle or the post office these performances seemed like a departure for me until i realized that they still have everything i cared about in the previous work like repetitive behavior a blurring of art and life and a vulnerability and sincerity that can be confusing and hard to reconcile with the idea of performing i think my project nowhere voyage was the beginning of this going on a cruise ship hosted by grindr i essentially created this quiet week long performance aboard the ship i told people i met that i was there as an artist doing a performance and then let things expand from there as strangers became involved and audiences came and went and contexts shifted over time i gogo danced on stages in empty bars i gave my room number to everyone and waited for interactions i performed for poolside cameras which connected to closed circuit televisions in the staterooms it was an important gesture for me to embark on a performance without knowing what it would entail a performance with layers of audiences and other performers something that sat so closely to the everyday that it could be confused as nothing at all adammilner instagram december 24 2015 paul weiner we live in a time where the barriers between artistic mediums are breaking down painters for instance are making sculptures or videos and calling them paintings because of the philosophy with which they approach those mediums when i see your drawings i often feel as though i m watching the direct result of a bodily action of yours taking place on the paper particularly in the cases of your sleep drawings and the recent pieces involving bodily fluids your videos create a similar sense of voyeurism is it fair to say that these works though not directly existing in the medium of performance have the essence of the performative practice adam milner i ve recently become comfortable introducing myself as a performance artist i think this is important often these categories can limit the reading of work but in this case i m really excited about other people starting to see the performative action involved at the root of all my work it s always a document or artifact of some performed or embodied behavior that happened previously i think performance is inherently about repetition about learning from what has come before and embodying that history using the body to store and share knowledge performance is always about some pattern or repetition and using those modes to share experience whether i m making a drawing video or intervention i m thinking about these things through the lens of performance as actions of the body that the viewer is not always privy to sometimes we only see the resulting object thinking of things this way automatically creates distance and desire to be reminded as the viewer that you are getting a glimpse into something but not seeing everything please view adam milner s website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ leave a comment january 6 2016 painting with chance jenny brosinski on giving up control and inviting erasure jenny brosinski pummels her viewer into a state of emotional resonance with intoxicating pinks and lightning yellows dichotomously painted over a surface of raw faded canvas building on sensual marks and spray painted poofs brosinski layers her paintings by bringing them to her laundromat where in a post cagean play on chance she washes and dries them to create the striking appearance of chromatic distress that dominates her work she works in a mad rush producing six or more pieces at once in a tornado of painterly action rivaled only by the creative energy of the berlin neighborhood where she resides the result is an eccentric range of aesthetic sensibilities and paintings that are outfitted with magnificent personalities brosinski who holds a postgraduate degree from weißensee academy of art lives and works in berlin germany she is a 2015 recipient of leipzig s pilotenküche residency and member of the 2014 berlin art prize shortlist paul weiner tell us about your studio and the way you work there jenny brosinski my studio is a nice bright place on the third floor of an old factory in berlin wedding there are many other artists on the grounds but also many people doing totally different things on the second floor for example there is a mosque if you ask me about my studio and the way i work there you have to know that my working method has a lot to do with contemplation which surely applies to a great member of artists too but often i am sitting there for hours only looking and thinking i do that as i remember since i was a little girl from two years old steadily since that time i have been looking for a calm place with no toys or entertainment so as my first studio i found the second bathroom on the first floor of my grandparents house which nobody normally used during the day sometimes it feels like you are here alone thinking or dreaming i like that now a few years later i have my own studio and i think it s still the same even if i have my notebook with me just in case i like that place where nobody will come in disturb or cop me i am not the kind of artist who is painting all the time i work in waves doing different things at different times and i need most of the time to look at things to feel what they do to me or don t then i paint quickly this is a shame because i really love painting often i paint more than six paintings at the same time paul weiner i ve noticed that your paintings are often unstretched and unprimed when you are working on them why do you do this jenny brosinski when i have finished my paintings after some weeks of living together with them i take them off the wooden stretchers and bring them to the laundromat where i wash and tumble dry them it s hard to surprise yourself perhaps this is the reason that i am not interested in celebrating myself with every brushstroke i make that is really important for my working process i love to destroy to lose control to react to something this is the point where my paintings get unstretched and unprimed in my work also the canvas changes its materiality when it is washed and dried it looks and feels a little like bedclothes and at the same time it reminds me at graffiti landscapes and old surfaces paul weiner many of your paintings contain pastel colors is there a reason for this kind of color palette jenny brosinski certainly i have my own favorite color palette like most of us but the washing process also decides what happens to the base coat colors so for sure i am interested in those kinds of colors because they are washy and symbolize the past for me in contrast i use strong colors for my final intervention likewise i observed that different colors react different to the washing process but i try not to get influenced by this information i think it is important that i am only interested in to making a good painting first whatever that means to any of us and as a second step i have to destroy it that s part of the game to erase something that you really set store on after i finally paint notations on i stretch them this is a special moment for me a little like a metamorphosis in the end it becomes a painting again telling you a story of trying to remember or misremember something paul weiner you mentioned your interest in keeping a calm studio do you also find your paintings to have this sort of calm to them jenny brosinski this is a difficult question i ve never thought of it that way before but i don t think so i think i use this kind of calm or quiet to offset parts of my inner personality whatever that means paul weiner i like the idea of surprise in your painting process being achieved by washing away the paint as an act of erasure when did you start washing your paintings jenny brosinski i think i first started in 2012 13 with showering my paintings but only for a short while because i got really frustrated about the control i had in this process after that experience i started washing my paintings with machines paul weiner tell us a little about living as an artist in berlin today and how this place has impacted your artwork jenny brosinski berl...
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