Outpost/Gildengate House 300125
Ways of knowledge prompts us to consider what happens when artists step into territories of knowledge production traditionally associated with disciplines like anthropology, science, or history. Opening new possibilities of how knowledge can be understood, represented and disseminated through contemporary art.
An exhibition that invites consideration of how making research becomes an integral part of practice. Using thematic presentations that explore, give platform to emerging methodologies, art forms, and conceptual investigations.
Rosario Guiraldes (Curator)
Ways Of Knowing. 2025
Walker Art Center.
Vitamin C
Clay+Ceramic
The Ceramic Reader.
Flooring Texts
Lines : Tim Ingold.
Notations
Contemporary Drawing as Idea and Process.
Drawings that are habitable.
The line is a whole, an identity, for a particular place and time.
Fred Sandback did not create new environments with his yarn works. Instead, he thought of his sculptures, the existing gallery space, and viewers all coexisting and able to occupy essentially the same space.
Visualizing Feeling.
Affect and the feminine avant-garde.
Susan Best.
Surrealism, the feminine and sexuality.
Bodies in the Filmic Medium.
Film.
Tacita Dean.
Senses Of Cinema.
Philippe Grandrieux.
The Belly of an Architect.
Peter Greenaway.
Optics Nihilist/Paintings Body and Mind In The Films Of Gasper Noe.
Pipilotti Rist
Making An Exhibition.
Interior Architecture 'sip my ocean'
Uta Barth
Stefanie Schneider
The Camera Obscura becomes a small portable box.
From Shadowgraphs to Alchemy.
The Photogram.
The Cyanotype.
Heterotopias.
Of Other Spaces.
Michel Foucault.
The Observatory by Robert Morris.
Joseph Cornell And Astronomy.
A Case For The Stars.
Kirsten Hoving.
Field Studies.
A Philosophy of Solitude
John Cowper.
The Poetics of Space
Gaston Bachelard
Space can be poetry.
To receive a new poetic image is to experience a quality of inter-subjectivty.
A felicitous space.
Poetry possesses a felicity of its own, above that of the actual experiences of the poet.
On the origins of a thought.
Not knowing is not a form of ignorance, but a difficult transcendence of knowledge.
The poetic image places us at the origin of the speaking being; after the original reverberation we are able to experience resonances, sentimental repercussions, remainders of our past. But the image has touched the depths before it stirs the surface.
The house, as an entity for a phenomenological study of the intimate values of inside space, its unity and complexity.
Inquiry focused on the house, its interior places and its outdoor context.
The house, from cellar to garret, the significance of the hut.
The soul comes and inaugurates the form, dwells in it, takes pleasure in it.
The page possessing a sonority.
A poet's word, because it strikes true, moves the very depths of our being.
Contemporary painters no longer consider the image as a simple substitute for a perceptible reality. By the swiftness of its actions, the imagination separates us from the past as well as from reality, it faces the future, a function of unreality.
If we cannot imagine, we cannot foresee.
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