- Purchased by the CAS (Contemporary Art Society)
This caught my eye as it reminded me of my work. I am interested in how this work is displayed especially as I look toward the setting up and displaying my own work. I have been working away, but now I have to push to try to get it to work together.
This so impressed me I had to copy and paste from the link above. I did not expect this explanation. I am pleased to see my idea of keeping clothes on in casting to add to cast and make it more unique is proving correct here. Why the need for nakedness in art all the time? I know a colleague in another university has found nakedness banned yet I find it has been seen as weird not to be naked in body casting process. Is this a female thing. Is the male body less wanted in art? I know it was in the Hayward back in say 2012 but is the female form in art more seen as it is more required or dare I say seen as more beautiful than a male? Reminds me of statistics published by the GORILLA GIRLS. Definitely more research needed to look at this argument further.
In simple non dyslexic words:
My exploration and study on the requirement of nakedness in art has shown some interesting turns.
In this piece, the power of being clad during the body casting process, has been reinforced to me. So much is said by the apparel. I am horrified at how stereotypical I am about the apparel. I can’t even share what I thought before I read up on the piece I am so ashamed of it. So you see, this is how important clothes are in a body cast I feel. Simon Fujiwara, in my opinion has greatly succeeded, helping me challenge my own prejudices.
In my own work and the work I have done with others the clothes add to the expression and message
LEEDS ART GALLERY
Simon Fujiwara (b. 1982, London, UK) lives and works in Berlin. Using a combination of performance, video, installation and short stories, Fujiwara’s work is rooted in dense dramas about personal relationships, family relations, politics, architecture and history. Over the past few years he has had solo exhibitions at Palais de Tokyo, Paris (2014) and Tate St Ives (2012). In 2010, Fujiwara was awarded The Cartier Award at Frieze Art Fair, London.
Rebekkah is a 16 year old girl from Hackney who was one of the protagonists of the London riots in 2011. Instead of facing prosecution, Rebekkah was asked by Simon Fujiwara to travel to China to take part in a unique social experiment. During this time she was given no access to social media and was unable to communicate with her peers, giving her time to reflect on her experiences. While in China Rebekkah visited factories where many of the objects she owns or aspires to own (fashion clothing, mobile phones, flatscreen TVs) are produced and witnessed what can be achieved when a massive-scale, national
population pulls together towards one common goal: individual improvement through mass production, organisation and hard work.
The trip culminated with a viewing of the Terracotta Warriors, after which Rebekkah was taken to a factory where casts were made of her body to be assembled into modern day versions of the warriors. Rebekkah feeds into existing narratives within the collection at Leeds Art Gallery and helps to chart the development of life-size figure sculpture and portrait sculpture from the 19th century.
Presented by the Contemporary Art Society Collections Committee, 2013