Sunday 22 January 2023

Biosphere/Archipelago : Sun Drawing/Cyanotype/Spheres of Activity

Bioscleave/Blue Particle Cloud/Diagram.

Biosphere/Archipelago : Sun Drawing/Cyanotype


The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

blueprints, cyanotype, alternative printing processes, light drawings, 

precision and indeterminacy, human form, ecology, 

environments, contemporary art practice

















ARCHITECTURAL Body

An ORGANISM that PERSONS

Gins and Arakawa 2002


Although the human condition is a crisis condition if ever there was one, few individuals and societies act with the dispatch a state of emergency requires. The fact that the human condition is a crises condition gets routinely covered up, with culture invariably functioning to obscure how dire the condition is and to float it as bearable


If organisms form themselves as persons by uptaking the environment, then they involve not only bodies but domains, spheres of activity and influence


Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave

Procedural Architecture/Architectural Body

Gins and Arakawa


The role of architecture as a tool for researching the body-environment towards the implementation of these considerations is paramount

The goal of an experimental teaching and learning space based on architectural procedures would be that the process of design and construction would allow students/staff to rethink, re-imagine and enact the curriculum

An Arakawa and Gins Experimental Teaching Space/A Feasibility Study 2013

Jondi Keane


Contexts:

Practice-based research , Research , Studio practice

Artforms:

Painting , Mixed media , Drawing

Tags:

Bioscleave, Architectural Research, Arakawa and Gins, 

cyanotype, diagram, collage, texts, current concerns, contemporary practice




Cyanotype from a site drawing, Space for Peace, Winchester Cathedral


Shroud

Richard Stillman

Yard and Metre Event, Winchester


As the marks resonated, did they sound true?

Could we tolerate margins of error or latitude?

Is there strength in that built by blue ink?

It is hard to see without certainty.


Why have they flown, gathered, shrouded?

Is the date significant? A memorial?

Or is it white noise reverberating,

striking parallels, refusing focus, insisting?


The shape of the cross is still distinct

but opening out, refusing definition,

never quite caught as an intention,

pinned on dimensions it wants to refuse.


When objects or atmospheres collide energy is transferred, a new force may be created. And, as forensic scientists can attest, when objects touch they exchange traces, each leaves something of itself with the other.

This is why artists enjoy collaborating. Working with another artist can give a jolt of inspiration, a spark of creative thinking, a surge of new skill, the stimulus for a new work. And the experience will leave its mark in some way on each individual’s practice.

The specific ‘collision’ may also result in a work which has its own integrity, which does not belong’ to either party and where their particular contributions merge indistinguishably - in effect fusion takes place.

This is the thinking behind 10 days | Creative Collisions and for The Yard artists and Hyde Writers it was the ideal excuse to come together, to let the shockwaves flow and see what new possibilities emerged. As with all the best creative practice, in science or in art, this has been an experiment, it involved risk, trust and open minds. Whether or not the outcomes are fully resolved they will be filled with potential - and with potency.

Stephen Boyce


Contexts:

Arts in health , Community , Publication , Socially Engaged , Writing

Artforms:

Painting , Performance , Photography , Printmaking , Text

Tags:

Space for Peace, 10 Days, Creative Collisions, Winchester Yard Artists, 

Hyde Writers, collaborations. visual art, poetry

Friday 20 January 2023

Playing With Structural Modalities/Making/Tensions : Speculative Spatial Constructions.

 Structural Modalities/Making/Tensions : Spatial Forms to gather/interact with discursive research.










https://www.flickr.com/photos/russellmoreton/24337820341/in/dateposted-public/

Poetics/Architecture : The scriptorium as an architectural surround.


5

Procedural Architecture


Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave.

Architectural Body

Madeline Gins and Arakawa


Working Notes/Holding in Place

Entanglement of Matter and Meaning


Intertwining Metamorphoses

Germano Celant

Giuseppe Penone


Diffractions : Differences, Contingencies, and Entanglements That Matter

Meeting The Universe Halfway

Quantum physics and the entanglement of matter and meaning

Karen Barad


Art and Technics

Lewis Mumford


James Turrell

Aten Reign

Miwon Kwon


Under The Volcano

Carmen Gimenez


Kees Goudzwaard

Assemblage

Pinholes and Dust

Grisaille

Transparent Body


Robert Mangold

Column Structure Paintings


Frank Stella Architecture

Architecture as a means towards creating space


The Optical Unconscious

To throw its net over the whole of the external world in order to enter it into consciousness. To think it

Rosalind Krauss


Postproduction

Nicolas Bourriaud



Body

Personal Relations

Spatial Values

Yi-Fu Tuan



Wayfinding/Movements through accumulated research

Running scripts, enactments, instances, involvements

Collaborative texts, complexity, emergent, discursive 


From The Bookcase to The Field Table : Landing Sites of Inquiry



Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.


New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.


A Philosophy of Emptiness

Gay Watson

Artistic Emptiness

Everything flows, nothing remains.

Heraclitus


Rethinking Architecture

Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343

Foucault, Figure 2 Bentham's Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition,annotations, commentary, illustrations and photos.


Tracing Eisaenman

Plenum, juxtaposed to form/haptic values/body absences

Robert Mangold

Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.

Interactions of the Abstract Body

Josiah McElheny

Object Lesson/Heuristic Device

The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.


Space Between People

Degrees of virtualization

Mario Gerosa


Adaptive Architectural Design

Device-Apparatus

Place

Function

Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69


Building The Drawing

The Illegal Architect

Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures


Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.


My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.


The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.


Speculative architecture

On the aesthetics of Herzog and De Meuron


Without opposition nothing is revealed,

no image appears in a clear mirror

if one side is not darkened

Jacob Bohme, De tribus principii (1619)


Reflections on a photographic medium

Memorial to the Unknown Photographer

Thomas Ruff's Newspaper Photos

Valeria Liebermann


Working Collages

Karl Blossfeldt


Sensing Spaces/Architecture Reimagined

Royal Academy of Arts


Anti Object

We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects. What that form is called architecture, gardens, technology is not important. 

Kengo Kuma


Body and Perception

The Phenomenon Of Place

Places at the Zero Point

The Box Man

Furnishing the Primitive Hut

An Architecture of the Seven Senses


Walter Pichler

Architect/Sculptor


The Thinking Hand 

Existential and Embodied Wisdom in Architecture

Encounters

Architectural Essays

Identity, Intimacy and Domicile

Notes on the phenomenology of home

The Architecture of Image/Existential Space in Cinema

Lived space in Architecture and cinema

The Eyes Of The Skin/Architecture and the Senses

Juhani Pallasmaa


Atlas of Emotion

Journeys in Art, Architecture and Film

Giuliana Bruno


Questions Of Perception

Phenomenology Of Architecture

Steven Holl

Juhani Pallasmaa

Alberto Perez-Gomez


Materials and Meaning in Architecture 

Essays on the Bodily Experience of Buildings

Nathaniel Coleman



Matter and Desire

An Erotic Ecology

Andreas Weber



Visualizing Feeling

Affect and the feminine avant-garde

Susan Best


Making/Anthropology, Archaeology/Art and Architecture

Being Alive/Essays On Movement

Knowledge and Description

Tim Ingold


Thinking Through Craft

Glenn Adamson


The Ceramic Process

A manual and source of inspiration for ceramic art and design

European Ceramic Work Centre


A Hut Of One's Own

Ann Cline


Smithson, Alison and Peter

Solar Pavilion

Architecture is not made with the brain

Architectural Association


The Kunsthaus Bregenz as an Architecture of Art

The Conditioning of Perception

Multiplicity and Memory

Hortus Conclusus

Thinking Architecture

Peter Zumthor


Re-Shaping Learning

A Critical Reader

The Future of Learning Spaces in Post-Compulsory Education

Anne Boddington, Jos Boys


Hiding, Making, Showing, Creation

The Studio from Turner to Tacita Dean

Rachel Esner


Conversations With Strangers

Performing the broom and the bricoleur

Malcolm Doidge



Corpus

The Ground of the Image

Jean-Luc Nancy


Life Between Buildings/Parking Day Manifesto


Poststructuralism, a very short introduction


Mapping Intermediality in Performance/Intermedia Chart

Sarah Bay-Cheng


Liminality, a psychological, neurological, or metaphysical subjective, conscious state of being on the 'threshold' of or between two different existential planes.


Heidegger for Architects/Emotions Building Presence 

Adam Sharr


The Visual Poetics of Jannis Kounellis

Suzanne Cotter, Andrew Nairne


Carlo Scarpa

Craft Intensive/Spaces, Vistas

Technical specifications of materials


Site-Specific Art/Tschumi, Robert Morris, Robert Smithson, Giuseppe Penone

Performance, Place and Documentation/Material Affects, Frames, Site, Spaces

What is the relationship between the visual arts and 'performativity'?

Nick Kaye


Wittgenstein, The Duty of Genius

Oren Lieberman/Spatial Practices/What does it Do?

These remarks show the unmistakable influence of Schopenhauer. In the World as Will and Representation, Schopenhauer discusses, in a remarkably similar way, a form of contemplation in which we relinquish 'the ordinary way of considering things', and 'no longer consider the where, the when, the why, and the whither in things, but simply the what. 143


 



Thursday 19 January 2023

Giving Sensations Place/Site/Raveningham Sculpture Trail : Subjective/Hypothesis/Bricolage/Tectonics/Working Scripts/Making Camps.

 

IMMATERIAL ARCHITECTURES MAKING IN THE LANDSCAPE.

RAVENINGHAM SCULPTURE TRAIL 2018/2020

STIMULATING TENSIONS.

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.


Mediating/Architecting the experience of LANDSCAPE.

The building as nothing more than an exposition of itself.

Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things.


A subjective hypothesis, a drawing developed into an objectivity for experience/learning.

SITE, the undoing of PLACE.




The House-sheds : Camping

There's more truth about a camp than a house. Planning laws need not worry the improvising builder because temporary structures are more beautiful anyway, and you don't need permission for them. There's more truth about a camp because that is the position we are in. The house represents what we ourselves would like to be on earth: permanent, rooted, here for eternity. But a camp represents the true reality of things: we're just passing through.

Roger Deakin

WILDWOOD

A Journey Through Trees



Art Practice as a Speculative Spatial Practice.

A reflective building is an echo not a statement.

Haptic devices/seating/dwelling in the landscapes of the mind. Landscape assemblages and the significance of solitude.



The immensity/intimacy and its immediacy to the imagination. Immensity is within ourselves. Gaston Bachelard

The site a Raveningham offers the spatial practice of a social event and the opportunity to playfully engage with architectural forms, fine art surfaces and textures.

The sensing space, a sculptural assemblage created at Raveningham is an inquiry into 'making' and 'reflexivity' amongst a social landscape.



SENSING AND SPATIAL PRACTICE.

Creating a new viewer, who has to look in two self contradictory/self annihilating directions at once. Darkest Spaces of Our Times, Therese Oulton, Jacqueline Rose.



CONTEMPORARY ART AND ANTHROPOLOGY : SPATIAL PRACTICE.

Making Place/Tools, cognitive enactments/materials and performativity/wellbeing.

Sociological aspects of the Arts

Archaeology, Anthropology, Architecture, Art, Tim Ingold.



A FIELD GUIDE TO GETTING LOST : Rebecca Solnit 

Experiential anthropology / Walking as 'being/becoming in place' 

Sensate, Sensing Sensuality, Otherness.





WHITEBOARD : PAVILIONS/RAVENINGHAM

Art as Contemplative Practice : An Applied Praxis/Inquiry

Expressive Pathways/Building/Making as an extension to the Self/Selves In Response : To Place/Site and “Dwelling/Hut”

Subjective Hypothesis Bricolage/Tectonics/Making.







Poetic Abstractions/ Components, Elements

Physical Experience/Experiential Phenomena ( Light/Gravity/Air) Sculptural Assemblage, Building/Making an Exposition of Itself

Smithsons, The Parallel of Life/Art the everyday/quotidian Grounding/Earthing/Dwelling/Home : Reflexivity/Reflection/Reverberations

Knowing Through Making/ Embodying Insights, Tim Ingold

MAKING : Deliberation/Awareness : Constructed Situations/SURFACES and TEXTURES SENSING, Sensorium/Embodied Experience, Sensate, Intra/Intervention



PLACES that transform Chaos into Cosmos, Karsten Harries



PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.



 



Socializing a Sculptural Practice, Jack Robins 2015

Strange Tools, Art and Human Nature, Alva Noe 2015

Visual Tool, Post Studio, Daniel Buren

INDEXICAL, Traits/Traces and subjective narratives Situational/Relational Aesthetics, Victor Burgin, Nicollas Bourriaud

Handmade, Repetition, Empirical, Experiences.

Metonymy, Cristina Iglesias ( Metonymic Thinking Processes)

Architecturally Speaking, Practices, praxis between art .architecture and the everyday. Visual Perceptions/ The Image

Surrealist Techniques, Collage, Photograms. Decalmania, Frottage. Assemblage, Brutalist/Modemity/Intervention

Minimalist/Drawing/Painting ARCHAEOLOGY : Mark Dion

Agency/Nature/Subject Matter. Collection of Finds, Metaphors/Interpretations for the lived experience. AN ANTHROPOLOGY OF LANDSCAPE :

Taskscapes/Relationscapes

Anarchism, everyday Aesthetics/The aesthetics of everyday LIVING Pragmatist Aesthetics/Interpretation of Concepts

Materiality, material makes more than one language possible, excess of material. LANDSCAPES for an excess of Interpretation/Politics

EXPLORING THE LANDSCAPE, through/with the CORPOREAL EXPERIENCE of OTHERS

A STRUCTURE INTERPOSED between the sunlight and the interior space it encloses. Poetic abstractions/Physical experience

Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES ILIMINALITY on the absence of material

STATIC ENVIRON I ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE. Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL / POCHOIR, hand coloured through stencils

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression 

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building.

Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION 

FUSELAGE


THE CAMP/HUT

represents the true reality of things, Deakin.


MOBILITY MOVEMENT

TEMPORAL CONSTRUCTED SPACE

A building component, scaffold, joists and fixings, a surface of absences and the movement of others come together.

MAKING, from form to programme.


WAVENEY VALLEY SCULPTURE TRAIL 2018 RAVENINGHAM

AUDIT OF NOTE FRAGMENTS 27 August 2018.


Archive as a generative form/membrane Tarlaton, mesh, paper, liquid light,

Presenting, Creating, Synergies, that further explore site embodiments. The Politics of Things

Diffractive Practices : Agential Cut, Barad, Learning Spaces, 

Brockwood Park School. Reimagining  Education 

In The Cave/Canvas of the Cave

ART. began with the questioning of the involuntary, trace of a human hand, an otherness. 

Moments, Nowness, The Instant, Actuality,

Habitus of Difference

Robert Mangold text on painting/drawing minimalist interrogation into the spaces around perception Minimalist Works / Working Processes represent fields of energy/causality within our experiential perceptions.

Drawing is the experience of seeing made visible/manifest Rhizomic feedback and flow, Deleuze

Research Horizons,

Culture drives growth, wellbeing, social enterprise and community

Lines of intervals, linerality, chains of codes, intersections, utilities, interventions Causality and Chance of ideas, creative acts, art,nature, becoming, the everyday,

Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,

Everyday aesthetics, heuristic practice,

Photography, Social pathology of traces layered into ecologies (Anthropological localities of desire)

Photography, The Body, Life, Death, Flemish Painting, Vivitas, Domestic Life, Nature on reclaiming the void left by the death of the mind

Walking creates its own feedback loop, The Journey, The Return,

The specific, Here and Now

Psychogeography, Dossier, Forensic Study, Inquiry.

Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity LANDSCAPES Constituted by creative practice

Walks as erasures, sedimentation, (Gardiner)

Getting Lost, Walking whilst deep in thought/embodiment in the environment 

Working Towards a Secular Retreat in the Landscape



Between PLACE and SITE.

Art Making  Agency/Spatial Agency.

Art Poverva, Materiality, Agency, Making, Nesting Building, 


NASCENT FINDINGS

Encoding DATA, LANGUAGE

Entanglements of Visual Data and Abstract Language 


CATHEDRALS OF INTELLIGENCE

The Urban Documentary,Text, Sebalt, 

The River : The Colour of Light

Albers/Colour Perceptions

Vernacular Architectures, Building/Making beyond the design

Footings, Voids, Roof Structures, Cavities, Between Walls.

Sensing Spaces in the very making of the building.

The Architectural plan/model and its proposal became the real virtual space for architectural energy and innovation.


TRANSACTIVE MEMORY Texts, Contents, Particulars, Process,

Working through ideas with things/devices/apparatuses Cognitive Landscapes /Relationalities ? Possible Worlds Subsumed by the causality of relationships/culture

Mies van der Rohe 

The Art of Sculpture

Moholy Nagy 

The New Vision Abstract of an Artist

Light brings the moment in time to us

Presence, Praesentia, exactitude of light on place and time.


LAND, LANDSCAPE, CLAY

Pot, Shard, Remnant, Culture, Jug, Dominion/Grounded Temporal/Spatial Perspectives

Light/Dark Room : Towards a new Interior Experimental Vision : Research Collage

Aesthetics of the Everyday Creative, Human Praxis





Supportive Material/Texts/Cyanotype Drawings from found objects


SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax  

AFFECT

SENSATION / CAUSALITY LIVING

THINKING LOOKING


DRAWING and THE LAW OF STRATIFICATION, the inevitable results of the working of GRAVITY STRATIFICATION OF RECOLLECTION / MEMORY OF THE WORLD. 

A Land, J Hawkes.


FACTORING THE TACTILE CONDITIONS OF THE REAL WORLD into perceptual awareness. 


PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.



COLOUR AS CONDUIT.

PERCEPTUAL ENVIRONS / CRAFT MEDIA /IMPROVISATION


PIERCED /DAPPLED NATURAL LIGHT


DIFFERENTIATED SHADOW /SURFACE


EXTRAORDINARY MATERIALS.

TECTONICS AND TEXTILES. 

INDEXICAL /GESTALT / VISUAL PERCEPTION


NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan


ABSENCES / INTERSECTIONS I GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY


IMMATERIAL / REPETITION / SINGULARITY ENCLOSURES / ITERATIONS / THINKING FORMS


MINIMALIST SPACES / INTERVALS, tuning objects to construct environments A child 'concretizes' its existential space.


Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard. 


Tidbury Ring, field drawings with cyanotype liquid on paper.

A Hut of Ones Own. Heidegger for Architects. 

Immaterial Architectures.


SENSING AND SPATIAL PRACTICE

EXPLORING THE LANDSCAPE


Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES / LIMINALITY on the absence of material.


STATIC ENVIRON / ANIMATED THROUGH THE BODY



THE ARCHITECTURAL SKIN / SURFACE, Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /


VISUAL TOOL 


SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression. 

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building. Concerned with bringing the material from its physical form into the meta-physical world.


PAVILION / FUSELAGE

THE CAMP / HUT

represents the true reality of things, Deakin.


The building as nothing more than an exposition of itself.


A subjective hypothesis, a drawing developed into an objectivity for experience/learning. 


SITE, the undoing of PLACE. (Casey)


BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.



DWELLING / MOBILITY / MOVEMENT IN THOUGHT

TEMPORAL CONSTRUCTED SPACE



TETHERED FOLLY against a fabric of time.

ART AS INDETERMINATE, able to arrest perceptions into different states (becomings) Stone Worlds

Narrative and Reflexivity in Landscape Archaeology Architecture and Ritual, how buildings shape society.



Bought to Light

Photography and The Invisible 1840-1900

CURATORIAL / DEVICE / BENCH / INTERLOCATOR

Jannis Kounellis, Theatre, stage crew shifting actors during a performance. Interconnected, between contexts, opening places between the social fabric.

Making spaces, expanding vision to create spaces 'between' in which to write ourselves. 


CONTEXT AND CONSIDERATIONS :

ART MUSEUM CULTURE

THE CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW.

MUSEUM DIRECTOR, CURATOR, COLLECTOR, ARTIST

None of that means anything anymore. Artists are now more DIVIDUALISTIC. They discover themselves not by securing a role within the historic narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE ECOLOGY that involves not only making art, but also putting on shows, publishing, organizing events, teaching, networking.



THE STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL EXTERIOR. THE NETWORK places the artist as a ’like' ITEM within an INTEGRATIVE

INVENTORY or DATABASE.


Immateriality/Temporal/Transitions material and movement/Human agency

A Species of Spaces.


Construction/Making/Collage

Forming, slowness and repetition, elements of painting

Assemblage, sensation, surface, objects and spaces between them gathered/thresholds

Sheltering/Weathered/ Exploring a fragility of a painting in the landscape


Robert Mangold, Paintings and Architectural Forms


Fragments from sketchbooks.


Ephemeral Architecture


Canvas as spatial verb

Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles,Wood, Lead, Nails.


Canvas as folded construction/shelter/place

Operative Design, A Catalogue of Spatial Verbs.












Wednesday 18 January 2023

Post Studio Practices : Mattering in Situated Places.

 Studio Apparatus/Scriptorium

Matter in Space : Passages in Sculpture.

The Sensing Of Spatial Agency.


Working Notes 2018/19

Curatorial Architectures/Assemblages

Speculative Spatial/Curatorial; Practices in Fine Art and Architectures


The Studio is no longer a retreat but it now integrates.

It is all exterior.

Ways of Curating, Hans Ulrich Obrist


Constructing active research material that becomes transactive through interventions and installations of display.


Blurring art and the everyday rituals of creative enterprise and survival.


Seeking to create innovative and immersive exhibition formats/situations that seek to engage a discursive and informed audience.


Building Relationscapes

Movement, Art, Philosophy 


Sensorium

Embodied Experience

Technologies and Contemporary Art 


Erin Manning

Caroline A, Jones


Playing with INTERTEXTUALITY

Setting the Stage MAKE SPACE



Immersive

Alienated

Interrogative

Residue

Resistant

Adaptive



Interactive Workshop

Exhibition

Presentation

Open Texts


RESPONSIVE ENVIRONMENTS

ARCHITECTURE, ART and Design Interiors


URBAN FALLOW (10 Days in the Laundry)

THE CURSE OF THE CONTEMPORARY



OPERATIVE DESIGN

CONDITIONAL DESIGN



ON MAKING SPACE

THE FEELING OF WHAT HAPPENS

BODY, EMOTION and the Making of Consciousness


Art Practices : the chaos of subjectivity and the organization of self

DRAWING, line, shape, volume, light.







Studio Bookcases : Sociological Registers

Installation/Intervention of six research bookcase as diffractive elements in the studio space.