Becoming Rhizome Researchers
Bryan Clarke (Clarke 1Qualbertaca)
Jim Parsons (jim. parsons Qualbertaca)
(University of Alberta, Canada)
This article is about rhizomatic learning, a way of thinking described by Dolenz and Gutter (year) which refers to a creeping rootstalk, often underground, known as a rhizome. Rhizomatic research offers ways to re-envisage educational research using the rhizome concept as a hopeful pathway towards new teaching methods and research.
Rhizomatic researchers depend on their personal rhizome which determines how they immerse themselves in their search and presents them with questions which ultimately engage them as rhizome researchers.
Rhizome researchers have to involve themselves deeply in the research life and at the same time must be free from personal opinions in order to see the differences around them as positives and not negative in all the elements of the research life.
I think that coexistence and adaptation in the current situation is necessary to help us as rhizome researchers to accept our surrounding relationships even if they are new and not related to our previous experience. I think in the same way as Dolenz when he used the life of the Bedouin in this article to show how he moves from a concept of one place to another and these moves determine the direction which he takes to reach a destination.
Nicolas Bourriaud Relational Aesthetics
Translated by Simon Pleasance and Fronza Woods with the participation of Mathieu Copeland
The theoretical and practical point in this eyeball focuses on:
relations between people and the world, analysis through aesthetic objects, and considering human-to-human relationships and their social context. The public is also part of building research or artwork as it has the power and means to change the world.
I think that this article can help anyone interested in exploring relationships through artwork. It focuses on how artwork reflects all the relationships around us. It also demonstrates the artist's behaviour in an artistic form as a product which is a pattern of relationships between people and the world, through aesthetic objects which give the public access to the ability to change the world.
In my experience, it was the first key by which I was able to understand the artistic experience which I was passing through and it helped me find the relevant artists who work through this theory, such as Rirkrit Tiravanija, and to try to find the similarities and differences between my work and his work, and this helps me to improve the idea and rethink all my artistic processes.
another related source
[online] Available at:esthetics:https://openartsjournal.files.wordpress.com/2013/07/oaj_issue1_dohmen.pdf
ART AND FOOD
From The Last Supper to The Dinner Party, the presence of food and the dining table has been a constant motif and a faithful companion to the visual arts. Mary Ann Caws, author of The Modern Art Cookbook, discusses this journey – its rituals, evolutions, and narratives – with art historian Charles Stuckey and The Quarterly’s Wyatt Allgeier (2017).
Here we can find how the art of food had come into its own by 1970 after appearing in the works of famous artists such as Cézanne, Picasso, Andy Warhol, Salvador Dali, Judy Chicago and many others when they used food as materials, combining art and food as art.
For me, this proposition changed a lot of my views, teaching me what I did not know about the art of food, and I found that food has been used since ancient times as an element of art which reflects everyday situations, people’s lives, reflecting a particular culture and its rituals in an unusual way, whether in the form of paintings, sculptures, pictures and films.
It is very interesting that we can see all these experiences documented and recorded even though they are mundane, everyday things.
[online] Available at: https://gagosian.com/quarterly/2017/11/03/art-and-food/
another course in food art:
These Artists Are Creating Work That’s About, and Made From, Food
This is a fantastic book; I can find many names, from different philosophers and artists in their historical and theoretical contexts, in critical writings by critics, and in artists’ works.
The first page can help you to find your favourite character or area related to your research with philosophers such as Umberto Eco, Bertolt Brecht, Roland Barthes, Peter Bürger, Jen-Luc Nancy, Edouard Glissant and Félix Guattari, and artists such as Lygia Clark and Hélio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn and Rirkrit Tiravanija.
For me, it was an excellent opportunity because I found critiques of Nicolas Bourriaud and Rirkrit Tiravanija in the relational aesthetics section on pp.160-170.