UFCAO


	Unidentified Flying Contemporary Art Object 20 - 26 November 2002 Ecole des Beaux-Arts de Nantes with : Dessislava Dimova April Durham Christine Laquet Olive Martin Michelle Naismith Douglas Park Dear Olive, Dessislava, Christine, Michelle, Douglas and April, First of all, many thanks for your invitation. (...) This starting point is a little bit crazy. The project grew on the idea of a collective stuff, and on the problems we encounter when we try to make homogeneous sense collectively. And i’ve got no idea of your personal practices and wishes. So I’ll take the project by the end : the spectator feelings. And the feeling i like (when i’m a spectator) is like what Marnie Weber describes when she says «I try to have the feeling come across when one sees really good outsider art, «where the hell did that come from and who did it»?». I've got to agree with her because some of the best contemporary art projects are, to me, like UFOs : UFO contemporary art project (an «UFCAP»). I mean an illusion or a trap, something that we can’t understand with preconcerted codes, without any logic, playing in a way with contemporary art cynism. Our purpose can be to communicate this feeling with an object, a text, a book, or an exhibition, etc., without building any signifying (in visual terms) work of art. In other words, it could be interesting, in a very short time, to build an unique object together, with the obligation to say nothing, missing the artpiece signification, playing with absurd, and it could be as difficult, as simple in theory (a mix of all the Multipoint’s personal opinions or practices). Is «outsider art » possible with this method ? Or is this art still absurd ? This attitude is, for me, much more constructive than destructive. It depends on the way of thinking we put in the final production, and i’ve got the intuition that, if it’s well done, it could be as absurd and illogic as acute. (...)

Unidentified Flying Contemporary Art Object

20 - 26 November 2002
Ecole des Beaux-Arts de Nantes

with :
Dessislava Dimova
April Durham
Christine Laquet
Olive Martin
Michelle Naismith
Douglas Park

Dear Olive, Dessislava, Christine, Michelle, Douglas and April,

First of all, many thanks for your invitation.

(...)

This starting point is a little bit crazy. The project grew on the idea of a collective stuff, and on the problems we encounter when we try to make homogeneous sense collectively. And i’ve got no idea of your personal practices and wishes.
So I’ll take the project by the end : the spectator feelings. And the feeling i like (when i’m a spectator) is like what Marnie Weber describes when she says «I try to have the feeling come across when one sees really good outsider art, «where the hell did that come from and who did it»?». I've got to agree with her because some of the best contemporary art projects are, to me, like UFOs : UFO contemporary art project (an «UFCAP»).
I mean an illusion or a trap, something that we can’t understand with preconcerted codes, without any logic, playing in a way with contemporary art cynism. Our purpose can be to communicate this feeling with an object, a text, a book, or an exhibition, etc., without building any signifying (in visual terms) work of art. In other words, it could be interesting, in a very short time, to build an unique object together, with the obligation to say nothing, missing the artpiece signification, playing with absurd, and it could be as difficult, as simple in theory (a mix of all the Multipoint’s personal opinions or practices). Is «outsider art » possible with this method ? Or is this art still absurd ? This attitude is, for me, much more constructive than destructive.
It depends on the way of thinking we put in the final production, and i’ve got the intuition that, if it’s well done, it could be as absurd and illogic as acute.

(...)

damien airault