Work on diy orthopedics continues. I’ve made six custom insoles and arch supports using different types of silicones and agitated the solidifying processes using cornstarch (50g silicone / 15g starch). I’ve also added acrylic paint to the wet silicone to match the casts with my shoe colors for a professional look. The moulding process is relatively simple: I place wet silicone on a insole, wrap it in clingfilm and step on it. I started with cheap chemicals for testing and accustoming my feet to the change. The latest versions have been made using silicone intended for aquariums (which doesn’t have anti-mold agents that might cause allergies) and they feel fit for permanent use.
Using self-made insoles feels weird. I can notice my posture changing. I’m not sure if they help with my plantar fasciitis aches but it’s too early to tell. My feet need to adapt, my tendons and joints need to change their shape. This is a slow bodybuilding exercise and I’m a little bit spooked by the process. Artificial limbs, cybernetics and prosthetics were a popular theme in contemporary dance a while back… I think that this cultural interest and aesthetic has prompted my experiments with diy orthopedics. My aim is to restore my ability to work with crafts (as intensively as I used to) but once I’ve accomplished this I might attempt to develop my body to achieve more interesting effects.
Don’t get me wrong, not aching while working is dope but enabling a non-human style walk using custom prosthetics is the mothershit (My take a proposition by Onyx Ashanti). Diy orthopedics give me weird-sad-hope #☭
Packing for a trip reveals how artist equipment categories are aligned and indicate changes in praxis. I have music instruments in one pouch, mineral water making tools in an other and electronics in the third. Some items are difficult to place.. Where do the capacitors I’ve build using mineral water belong to?
Kim Modig & Marina Valle Noronha‘s Art Off The Air (AOTA) (2019) is an audio piece about art and energy (or lack of it). I like the style of the work, the glitchy audio gaps and the boldly disruptive techniques they use to create an inspirational space for the listener. The work asks an important question: “What kind of lifestyles does our art produce” and calls for de-growth (or de-acceleration) within the arts. Their proposal is that artists should do less to combat consumerism. I agree with their proposal wholeheartedly. But I do think de-growth should not be demanded equally from all artists or arts, because this would hinder the constant reconfiguration and circulation of economical / social classes. Processes in structural change should take into account the demands different artworks place on their surroundings: Material artworks reserve more stuff then skill sharing. This argument is an adaptation of the critique of extreme taxation of flights and meat industries: Extreme taxation would reserve these “pleasures” only for the mega-rich (which is a dystopian reality by all accounts). I think a great model for change is the way value added taxes are designed. For prints and paintings the tax is 9% and 0% for performing arts! Perhaps in addition arts should be taxed using a progressive scale?
Mira Kautto has shared a collection of art grant applications and proposals online. I think this is a great gesture!
Onyx Ashanti is an afrofuturist working to reprogram himself. His video entries give me weird-sad-hope:
Perhaps I’ll survive not getting a grant (applied for 108 000€ from Kone to finish the Trans-Horse project and didn’t get it). I’m seriously looking for work thou.
I’m not flossing, I’m just not cold. That’s cool and I’m cool with that. That’s a kind of freshness in itself. That’s dope. Not being cold during a polar vortex is very dope but being dope in a polar vortex is the mothershit. I’d love to explore it.