Speculative Sites of Working : Ways Of Knowledge/Site based explorations, emerging methodologies of making.

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.

Making Speculative Learning Spaces.

An extending phenotype consisting of traces left by engaging with material and research as an assemblage that is inhabiting the ecologies of making practice.

Morphogenesis/Emergences/Expulsions

The Inherent Politics In Movement.

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.

Disjunction and Event/Processual Research : Collage/Constrained Spaces/Spatial Body

Processual Making/Messy Entanglements : Creating sustained flows of engagement resulting in some connections that can occur but not others, working practices that can create a pattern or field of relations/resistance or constraint.

Movement is Material.

Mobility/New Social Assemblages

Ingold/Thrift

Movement creates differences, it resists and perpetuates between human bodies/spatial bodies.

Constrained spaces shaped by the tensions of the environment.

Combined works/conceptual frameworks with research as an integral part of the practice to produce ways of sensing/making ecologies of  knowledge.

Ecology-as-Assemblage

An assemblage is able to retroactively affect its parts.

Human identities and bodies are inherently multiple, relational and dependant on more-than-human presences. 

On Landscape Ontology, Bryant. 2011

The co-existence of such heterogeneous dimensions and demands makes up the 'event.' The event is a sudden intensity generated by the juxtaposition and superimposition of differences. The event tends to exacerbate differences rather than making everything similar.

Disjunction and Event.

Bernard Tschumi.

Matter-Feels-Converses-Suffers-Desires-Yearns and Remembers.

New Materialism/Interviews and Cartographies.

Ann Arbor, Karen Barad, Dolphijn and Tuin. 2012

Agency is about an ability to respond , to change things, about the possibilities of worldly reconfigurations, in this way it enlists non-humans as well as humans.

Human capacity becomes distributed rather than situated in a hegemonic subject-object relationship. Rather it is a result of complex heterogenous entanglements, networks, imbroglio's, assemblages and ecologies. In this perspective, agency is not something possessed solely by humans or for that matter, non-humans.

Choreography of existence : Holloways and making of landscapes.

Dimitrij Mlekuz.

A Body Of Relations : Knowledge Production/Creative-Embodied-Practices

GILDENGATE HOUSE

*STUDIOS UPDATE*

Due to redevelopment of the area, OUTPOST Studios will be closing in February 2025. Founded in 2010, we are thankful for 15 years in this fantastic space! Home to 90+ artists at any one time, hundreds of artists have benefited from studio space over this timeframe.

OUTPOST STUDIO 181121

Organism-Person-Environment/Architectural Body, Arakawa and Gins.

Haptic slippages between subject and object, between what is alive and what is animate.

Drawing/Anamorphic Perceptions, apprehended and felt, more than seen.

https://axisweb.org/artist/russellmoreton

https://www.anglianpotters.org.uk/members/russell-moreton/

Glass/Skin/Permeable/Translucent, Diaphanous and Wondrous.

The Sensation of Flesh/Skin, Surface and Subjectivity.

Material Thinking and the Agency of Matter.

Barbara Bolt. 2007.

Things and Bodies/Shifting Signs

The haptic image/indexical/involuntary markings and the present instant, a body at the limit of its moment when it is most definitely intensely alive and in the present.

Beyond the body's blurred contours and indexical markers, to see through, to see sense challenged.

Time is persistently liminal, a suspended, extended present.

Mattering/Mutability, Accident, Flux

Experience/Existence/Presence 

Life Drawing/Staging Oneself/Others

Body in Space/Resilience, Endures

An ecological view of cognition, knowledge of the world comes from engagement with things.

Rather than studying the world as an object, we  correspond with it in its own movement of growth or becoming. This correspondence sets up a relation with the world which opens up our perception to what is going on so that we can respond to it.

Tim Ingold. 2013.

Making as a process of thinking.

Making involves the socialised, skilled artist body labouring with materials, responding constantly to tactile, visual and emotional feedback from the emerging form. 

I am exploring emergent objects as landscapes, inhabiting them and of making sense through them.

Barbara Bolt. 2007.

Creative 'practice' and the embodiment of the 'social'.

The Life Class/The Artist's Studio.

Knowledge is emergent as the artist engages with the environments and processes of practice.

Adopting a conception of cognition as ecological assumes thinking and perceiving occur as an organism moves through its environment.

The artwork and the work of art produce a knowledge that is performed in the moving interactions of body, material, and social actors in space and time of which the artwork is a trace.

Tim Ingold. 2000.

Event Spaces, as an experience of distributed artistic subjectivity and shared art-of-inquiry. 

A Body Of Relations

Reconfiguring The Life Class

Yuen Fong Ling. 2016.

Intermediaries and happenings between my body and other bodies and their technologies, where their performativity is revealed offering new perspectives on the roles within the life class.

In my fixed physical position as the life model, the notion of the 'pose' reflects a union of the conscious and unconscious, instilled by the act of being looked at, and the ways to record this through optical devices and machines.

Modelling Subjectivities

Life Drawing, Popular Culture and Contemporary Art Education.

Margaret Mayhew. 2010.

Drawing is important because it delineates between elements in the physical, visual, psychological and cultural field, it also delineates between bodies and spaces, art and fashion, and present uncertainty verses timeless tradition.

The act of drawing itself involves considerable self control on behalf of the drawers, not only in mastering hand-eye coordination, but in concentrating on the present moment, the present action and in the immense discipline of looking at a naked body, culturally marked as sexually available, and not displaying sexual interest.

Margaret Mayhew. 2010.

The body is never isolated in its activity but always already engaged with the world. 

Merleau Ponty. 1999.

Through the configuration of the body as potentially transparent, against which the human being can only push with her hands at the limits physical and psychic geographies that are between inside and outside. 

Photography and the permeability of time evoking a physical experience of observing and examining other worlds.

Aesthetics of intimacy, photography and bodies of desire, the gaze of the passionate camera.

The intimacy and equivalences created through the photographic experience.

Her inert body both inside and outside the vitrine.

Potentially something dangerous about the  experiments with her body, with and into its layering and embodiment within speculative spacetime dimensions.

Here the viewer has the sensation of seeing through a double protective layer of glass and skin.

Art Practice/Building Distant Realities/Wonder

Like glass and within the glass, with the skin that separates the body from outer/other space as well as inner geographies and selves.

Written on the body, maps and navigations of interior spaces. Winterson/Woodman.

Her poetic image of a space that presses psychically on her from the outside.

The earthbound, partial female body, transgressions of the everyday limitations on the body.

The psychic geography manifested within frames of spatiality that becomes an inner space that flips outwards and defies limits.

Through and beyond the drawn/sculpted and painted body.

Site for psychic inner explorations, a corporeality for others rooted in the body's present moment of experience.

Diffracting Drawing and Painting.

Mattering as a reconfiguration of its own making, understanding and encountering.

Atmospheres : Architectural Environments, Surrounding Objects. 

Peter Zumthor. 2010.

Manuel Neri, Studio, Benicia, 1980

Francesca Woodman, Untitled contact sheet, Providence, Rhode Island, 1976