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David Greg Harth

  • Socially Engaged Art + Participatory
  • Performance
  • Drawings + Prints + Paintings
  • Video + Film + Audio
  • Photography
  • Self-Portraits
  • Other Works
  • Archive
  • Words
  • Info
    • Bio/Statement
    • News
    • Press
    • Bulletin Board
    • CV
    • Contact
    • Search
    • Subscribe
    • Support
    • Loyalty
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  • Collect

LAPIZ International Art Magazine

LAPIZ International Art Magazine, November 2009, Number 257, Pgs. 26-53

LAPIZ International Art Magazine
"El arte no es el capital / In favour of imaginative economy"
November, 2009
Number 257; Pgs. 26-53
Author: Juan Antonio Ramírez

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El arte no es el capital / In favour of imaginative economy

English Excerpt & Translation Below:

Invented money, manipulated money

Artists have frequently manipulated money or invented notes and coins mimicking monetary systems created and monopolized by the State. Brazilian artist Cildo Meireles did both in some of his first works. In 1970 he created Insertions in Ideological Circuits, an appropriation piece in which he stamped precise political texts on wide-circulation legal-tender banknotes, such as "Yankees go home". This idea (the bank note as the support for parasitic messages) has been used subsequently by artists such as David Kam or David Greg Harth, whose conceptual interventions have a lighter political load.

Copyright 2009 LAPIZ International Art Magazine


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Monday 11.02.09
Posted by David Harth
 

Palestine News Agency (WAFA)

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Palestine News Agency (WAFA)
"Gallery Al-Mahatta: Manifestation of Complicity with Self"
October 6, 2009
Author: Nida Awine

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Gallery Al-Mahatta: Manifestation of Complicity with Self

Gallery Al-Mahatta: Manifestation of Complicity with Self

RAMALLAH, October 6, 2009 (WAFA) - If "art washes away from the soul the dust of everyday life," as Pablo Picasso once said, then we need more art in our lives, to purify our souls from all the dust accumulated from our daily strife. Thus, can be described the experience of twenty-five artists from varied countries, as they gathered at Edward Said Conservatory of Music in the little town of Birzeit, near Ramallah.

Gallery Al-Mahatta has, for the first time in Palestine, organized an international art residency through which Palestine will, according to Hafez Omar, Projects Director at Gallery Al-Mahatta, join Triangles Art Trust, founded in 1982.

Ten Palestinian artists, five Arabs and ten internationals lived together for two weeks, during which they presented their works, shared their experiences. They absorbed the surroundings, the particularities and traits of the Palestinian "intense" context, as Hafez described it. By acting, reacting and interacting with each other, and with the unique socio-political environment of Palestine, each artist came up with a concept and developed it into a work of art.

On the October 4, 2009, their works were exhibited in Birzeit.

Desire, trust, suffocation, reflections and footsteps are not everything the artists experimented, and expressed. Their love for art was not a mere repercussion of their works, it was more than that. It was a reproduction of sentiments they felt, an overflow of the environment.

The value of a Palestinian human being was evoked in a performance by Ibrahim Jawabreh (24), as he discussed the merit of being a Palestinian. "Desire is the space to be discovered within us, but the path of this discovery is misled by political and societal limitations. This subconscious deviation of paths, makes us like cattle. We lose the ability to live our innermost emotions. There is a lack of comprehension, a lack of understanding and a lack of intimacy. Continuous conflicts, divisions, biases, taboos and the inability to react make a Palestinian human being feel worthless… much more like a sac of tomatoes," said Ibrahim, with a grin most likely to inspire Mother Nature to create.

David Greg Harth, from New York City, trusted Palestinians on his life. In response to a question asked by his mother when he told her he was coming to Palestine, "do you trust people there?" He tied himself to a large rock from one side and to a rope from the other. He dropped the rock over a height of 6 meters, and let spectators hold the rope. If one Palestinian let go of the rope, David would have fallen down and died. However, he told them: I trust you with my life. David did not at all seem afraid; he had no question or doubt, despite the big risk he had put his safety into. David trusted, and his trust was not misplaced.

Salameh Safadi, from the village of Majdal Shams in the Occupied Syrian Golan Heights, wanted to share the fury of the Arab citizens of Israel, when they see the names of historical Arab cities written in the Hebrew pronunciation on road signs. He installed four signs with the names of the cities of Yaffa, Acre, Nazareth and Jerusalem all in Hebrew pronunciation transliterated into Arabic letters. His message was to transmit the fury and protest the name changing, in an attempt to erase the Arab Palestinian identity from those places. Salameh’s work aroused rage into people; the exact reaction he had expected. He filmed the people’s interaction with the work, and displayed a very stirring film about it.

What can be stronger than a work of art, other than a blend of diverse energies stemming from different cultures? This question has been powerfully and truthfully answered in the experience and works of all the artists in this workshop. They met on September 22, 2009, and departed on October 6, 2009. In two weeks, they shared space, food, chores, laughs, and life.

With tired smiles on their faces, they said farewell to the place, and each other, hoping of another encounter, another dare, and yet, a never ending path of art.

Copyright 2009 Palestine News Agency


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Tuesday 10.06.09
Posted by David Harth
 

Die Burger

Newspaper Clipping

Die Burger
"Art that Chews on Social Issues"
July 3, 2009
Pg. 14
Author: Liza Grobler

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Art that Chews on Social Issues

English Translation:

The New York Artist David Greg Harth (or Harth, as he prefers to be called) is currently in South Africa for an exhibition at blank projects. The exhibition consists of a couple of dental imprints and two video works in which (respectively) a white and black man is being eaten. The man who is being eaten is seemingly unaffected, even bored, by the interaction. The works are humorous at first glance, but as the chewer perseveres the viewer becomes more and more uncomfortable - especially within the context of South Africa's complex racial relationships.

How did Man Eating as concept develop?

A black programmer friend of mine suggested years ago that I make a work with a white and black man. So as a result of his comment What Ate that Black Man? developed in 2007. First the title stuck in my head. Then the video works were made in order to realize the concept visually. There are two characters: Black Man 1 and Black Man 2, but one is white and one is black. Race, power and sexuality are addressed through a very simple action: that of chewing! The work had been shown at a film theatre in New York where people were obligated to watch the video from beginning to end. The initial laughter soon died down and viewers became uncomfortable.

...and Black Eating White?

When blank projects invited me to show, I wanted to make a sequel that could link to the first without being a mere mirror thereof. The work had to stand on its own. Here the focus is specifically on the mouth and the sounds that go with this. I wanted to focus on the interaction between the two characters rather than on the physical presence of their bodies. Race and sexuality is not the main concerns, although this is what most people make it out to be...

Is most of your work performance art?

I write poems and there are over 1000 poems on my website. I would like to publish a small book of poetry or an artist book filled with poems. To an extent I focus on performance art, but I also make drawings, prints...whatever medium is suitable to underline the concept. One of the projects that I've been involved with for years, is The Holy Bible Project.

Tell us more about this project - a project with a life span of 20 years?!

It all started with U2. I was on my way to one of their concerts and wanted to take them something a bit more exciting than a CD cover to sign. I was aware of their strong Catholic background and therefore decided to ask them to sign a Bible. Whilst the concert was taking place, I noticed a number of famous faces in the audience. Christian Slater, amongst others, signed the Bible. Since then over 1000 people have signed the Bible... the project will continue till 2017.

How do you select participants?

People who've touched my life... quite a lot of famous people, some of them are recommended by friends. There are also a significant number of artists who might not necessarily be known to everyone, but they are people whom I respect.

Are you planning any new projects?

Yes; two performances in New York. D-Train will take place on various train carriages and Chambers Cut on the corner of Church and Chambers street in New York. The last of which involves a bayonet and the possibility to slit my throat.

Hopefully he'll survive!

Man Eating can be seen until 24 July. Call 072 5075951. For more, visit www.DavidGregHarth.com and www.TheHolyBibleProject.com.

Copyright 2009 Die Burger


back to press
Friday 07.03.09
Posted by David Harth
 

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