Difference between revisions of "Joeke Fantastic Forgeries Result"
Jump to navigation
Jump to search
| Line 1: | Line 1: | ||
| − | + | Please Don’t Touch | |
<br><br> | <br><br> | ||
This tool replicates the work process of Satoru Hoshino. His work process is all about his hands touching the clay. <br> | This tool replicates the work process of Satoru Hoshino. His work process is all about his hands touching the clay. <br> | ||
| Line 5: | Line 5: | ||
But when exhibited in a museum setting, the visitor is not allowed to touch the artefact and therefore does not experience this dialogue.<br> | But when exhibited in a museum setting, the visitor is not allowed to touch the artefact and therefore does not experience this dialogue.<br> | ||
This tool makes this distance visible and allows the maker to edit the clay without having to touch it with their own hands. | This tool makes this distance visible and allows the maker to edit the clay without having to touch it with their own hands. | ||
| − | |||
| − | |||
| − | |||
| Line 17: | Line 14: | ||
[[File:Joeke forgeries01.jpg|800px]] | [[File:Joeke forgeries01.jpg|800px]] | ||
| + | |||
| + | |||
| + | Click here for the video : https://vimeo.com/144010326 | ||
Latest revision as of 14:15, 15 January 2016
Please Don’t Touch
This tool replicates the work process of Satoru Hoshino. His work process is all about his hands touching the clay.
The finger- and handprints visible in his work represent his dialogue with the material.
But when exhibited in a museum setting, the visitor is not allowed to touch the artefact and therefore does not experience this dialogue.
This tool makes this distance visible and allows the maker to edit the clay without having to touch it with their own hands.
Click here for the video : https://vimeo.com/144010326
