Outpost 041024

Sensing Peripheries/Gestures and Acts. 

Trace Drawing

Body Outline/Material Flows.

A sudden quantum like jump between a thing and its parts, between its different scales, its ontological gap. In a way a whole is really another specific, not a generalization about a specific thing, this means that there is a 'weird gap' between the whole and the parts, an ontological gap.

Timothy Morton.

Architecture in the Space of Flows, 2012.

Andrew Ballantyne, Chris Smith explain that everything can be understood as functioning in terms of flows – flow of various kinds and scales make up architecture and connect it with the world. Here, a volatile mode of thought begins to proliferate architecture as a whole, rather than developing the thought in relation to the body or space in isolation.

The Extracorporeal Space.

Architecture in Abjection.

A visceral assault, an affect that passes through the subject. 

An architecture that gets distilled down to experience and the chemical exchanges between body and space that begins to function within a similar realm to abject(ion).

The basic unit of study is body coupled with architectural surround. 

Arakawa and Gins.

You shouldn't force the memories. Just try to untangle them slowly.

I would suddenly have the feeling that a story was coming back to me and I would reach out instinctively to seize it. But there was nothing for me to hold. When I could no longer stand to stare at the blank page, I would type a, i, u, e, o, and then, imagining that I would now be able to write something, I would erase them again. But of course nothing came to me, and I would return to a, i, u, e, o. And the process would repeat itself. In the end, all that was left was a torn page, from the many times I'd erased what I'd written.

The Burning Library.

It may take a long time for every word to disappear, we held our breath as though fearful of disturbing this beautiful scene. 

The Memory Police.

Yoko Ogawa.

Ceramic Objects/Monumental vessels that explore contemporary society's relationship to death and ritual.

Abstractive figurative forms invite the viewer to meditate on the intimate relationship between the clay vessel and the human body.

Stair's exhibition explores humanity's reliance on art as a means to transcend the unknown.

Themes of Containment/Embodiment.

Julian Stair : Art, Death and the Afterlife.

Sainsbury Centre, 2023.

Developing explorations in which material culture and artistic practice can engender 'a new , expressive language to both mediate loss and celebrate life, Julian Stair'.

Francesca Woodman.

Gagosian, 2024.

Putri Tan: In those pictures the objects bisect the space and also consume it. Counter to that , as you said, is the body. I'm never wholly convinced of the idea that she is part of the architecture when she's holding on to a column or contorting her body to fit into the environment or to disappear into it.

Corey Keller: There's both a brutality and a monumentality about the bodies she depicts, you don't quite know whether they're trapped or liberated. I think what's interesting about the work is it's never quiet only about the space and it's never quite only about the body, but it's about the psychological spark (tension) that ignites when those things intersect.

Architectural Body

Arakawa and Gins.

The architectural body is a body that can and cannot be found. Boundaries for an architectural body can only be suggested, never determined.

A bioscleave is an event-fabric within which all exists only tentatively, within which all is perpetually shifting, and within which architectural bodies form and collapse, here distinctions between body and space, subject and object are diluted. This results in a certain indeterminacy of boundaries, as body and surround are collapsed into one, and as they are constantly shifting in relation to one another.

I found it terribly difficult to come to terms with the old man's death. I had lost many people who were important to me in the past, but somehow my parting with them had been different from what I experienced now.

But the laws of the island are not softened by death. Memories do not change the law. No matter how precious the person I may be losing, the disappearances that surround me will remain unchanged.. But this time I had the impression that something was different. In addition to the sadness, I was overcome by a mysterious and menacing anxiety, as though the old man's death had suddenly transformed the very ground under my feet into a soft, unreliable mass.

The materials of the world that surrounded R and me were simply too different-as though I were trying to glue a pebble I'd found in the garden to an origami figure. And the old man, who always reassured me at such moments, who promised we could find a different type of glue, was no longer here.

The Memory Police.

Yoko Ogawa.