Outpost 100723
Hungate/Water
The House of Spiritual Retreat.
Emilio Ambasz/Emerging Nature.
Sculpture in the Expanded Field, Rosalind Krauss.
The Art of Memory/Frances Yates.
https://monoskop.org/images/b/be/Yates_Frances_A_The_Art_of_Memory.pdf
Objects and their Relational Potential.
Propositions for Thought in Motion.
Landing Sites, Organism/Person/Environment
Affective tone is an environmental resonance of a feeling-in-action.
The immanent value of objects is intrinsically connected to the relations they create within the conditions of a felt realm of a therapeutic becoming or in conjunction with the ways in which the environment proposes its own constitutive limits.
For Lygia Clark it is how these relations take form that is key, and this is where the artistic process makes itself felt. Without a set of enabling constraints to make the work take form, Clark's objects would melt into an already overcoded environment.
Lygia Clark's relational objects create worlds, produce events in the making, this is how their value is felt. The value of her relational objects is not expressed in their capacity to stand alone as objects, rather it is felt in the emergent qualities their coupling with bodies in relation brings forth. Their value lies in how the forces of potential express themselves in their relational movement towards the world. Her relational objects are defined by the constraints of their pairings, these constraints are the limits borne out of the environment that incite the ways in which complex series can conjunctively take form.
In a relational world where language dances, thoughts becoming form.
Resonances that modulate her body, her own becoming-movement in tandem with the environment moving. A slowness rich with the eventfulness of sensation-in-the-making.
Amanda Baggs, Erin Manning.
Some Notes on the Nature of Abstraction.
One thing is clear: when the level or kind of reality resides in the events of perceptual phenomenon, as well as in those abstracted concepts of image transference, such methodologies (tools) as language, script, graphs, photography, and the various games of pictorial, historical, curatorial, and literary analysis and description have only thethe appropriate limited meaning of their present currency in the world.
It is in this sense that modern (so-called abstract, non-objective) art mat seem obscure, as it generates direct questions aimed at each of these seemingly established roles and practices making up the historical distinctions for art.
Being and Circumstance.
What our perception presents us with (at every moment) is an infinitely complex, dynamic, whole envelope of the world and our being in it. In summary, we can thus state that all perceptual knowing is knowing in action (change) and the equivalent of the phenomenal.
Robert Irwin.
Notes Towards A Conditional Art.
Inquiry.
By the turn of this century, nothing, absolutely nothing, was on certain ground: everthing was being challenged; this is the main fact of our lives.
Alfred North Whitehead.
Objects expressing different ways (feeling-thinking) of making practices.
Hungate : Figural/Watery Form.
Chinese paper on used white linen sheet with sea pebbles, cyanotype fluid, black spray paint.
Simple plain ceramic bowl, water, bandage.
No comments:
Post a Comment