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For the residence in ARCUS
Having never been to Japan, my work will begin upon departure. From the bus to an elevator, an escalator, and onto a plane until finally arriving at Arcus. Metaphorically speaking, I start nowhere, the generality of global travel, and arrive somewhere specific, Moriya. |
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Daniel Seiple has been working on projects which reconsider various "borders" in contemporary society. Mimicking, crossing, shifting, destroying or redrawing boundaries.... They include physical / geographical markers as well as social and psychological territories. Each project is realized for a specific site and situation by employing various strategies and mediums. In ARCUS, his focus will be Moriya, a farming town on the precipice of urban development, interweaving his experiences as an outsider with the changes affecting local life.
Arguably the most attractive work on the list. The work references
artistic precedents without being pedantic or bookish about it, which is
something I appreciate tremendously. The deadpan renditions also bespeak a
sense of narrative that is quite unique. Fischli and Weiss, but a little more risk-taking, a little rougher around the edges.
It's rare that I come across a work that I am spontaneously so enthusiastic about, and I wish I'd come across it sooner.
Tirdad Zolghadr
It seems to be characteristic of Daniel Seiple works, like in the bus drive, that a story unfolds into something which is determined as much by the site and its limitations as by the artist’s original intent, namely, to make a bus ride. What was intended to be a comfortable ride in a nice bus, becomes an almost claustophobic experience of travel and narration. While touristic, as a traveling bus, the “bus tour” becomes interwoven with the complexities and history of the site. As in “Fontãne”, in making a natural water phenomena, Seiple mimics a common strategy used to increase land and property value making his political argument a visual one of experience.
Helmut Batista
The work of Daniel Seiple has the basis of a conceptual approach and uses the historical tools of art about ideas of representation, time-space, and the artistic experience as lived or sensed.
But it is also work that is very formal and directive, with instructions and a storyboard as diverse as the number of people who experience it.
The work in a place makes it a sculptural space and the place where the work is produced and experienced is revealed by accentuating the presence of its limits.
Articulating the work in the place of action has the potential of proposing an original perception of the ideas of using and sharing space, whether political or poetical.
The elaboration of the work, successful or not, is as important as the possible result.
Abdellah Karroum