Friday, 30 May 2025
Thursday, 29 May 2025
bricolaged notes from STUDIO UNBOUND : Lane Relyea
The Function of the Studio
Daniel Buren
The Studio is no longer as seen as belonging to a system.
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.
Networks are both integrative and decentralizing in that they privilege casual or weak ties over formal commitments.
Being part of a network that privileges itinerancy and circulation over fixity, that diminishes hierarchies and boundaries in favour of mobility and flexibility across a more open extensive environment.
'The Studio made into a showroom display'
Antagonism and Relational Aesthetics. 2004
Claire Bishop
The Individual and The Social
A place where meanings, properties and behaviors fluctuate radically.
Bennett Simpson. Can you work as fast as you like to think. 2003
The hosting/re-created artist's workspaces, like a threshold between private and public actuality and potentiality.
Spaces of Fluid Interchange Between Objects, Activities, People.
Today studio and museum are superseded by more temporal, transient events.
The Notion of the Evolutionary Exhibition.
Placing greater emphasis on INFORMATION, DISCUSSION and GATHERINGS
Establishing NETWORKS, fluctuating between highly specialized work by scientists, artists, dancers and writers
Obrist/Vanderlinden, Laboratorium, Antwerp. 1999
MODULATION, Deleuze
Immaterial Social Acquaintances/Information
Along with the rise of Networks comes a new Ideology, one that Advertises Agency, Practice and Everyday Life.
The Dividual (The New Mobile Creator) Deleuze
Someone who is 'UNDULATORY In ORBIT, in a CONTINUOUS NETWORK
Colour Nexus : Promiscuous Mobility
Material Flows 2007/2017 Towards Disentanglement
Social behaviour is trapped in inescapable patterns of interaction coded by techno-linguistic machines, smartphones, screens of every size, and all of these sensory and emotional devices end up destroying our organism's sensibility by submitting it to the stress of competition and acceleration.
Franco "bifo" Berardi
OBSCURED MATERIAL
The Modulation of the Image
Wednesday, 28 May 2025
Making Processual Paths Of Volatility : Ceramics/Sinopis Red/Palette from Antiquity.
Outpost 171225
Early palette from Antiquity:
White, yellow ochre, sinopis red (earth red), black (bluish).
Michael Grimshaw, Winchester School of Art. 2007
Intricate Local Behaviours : Conversations/Correspondences between unrelated entities.
Lines. (Making/Thinking/Matter/Material)
Tim Ingold
.jpg)
.jpg)
.jpg)
What Is Art ?
Joseph Beuys.
I find it interesting that you say that this stool or box speaks to you, whereas this floor, as you said, doesn't. A similar thing happens to me, and I ask myself: What is this due to, the fact that it doesn't speak to me, or only a little? It makes me think that these ready-made things, this precision, actually compels me to behave in a particular way, not just these things here, but also a certain window, or a specific type of architecture that is very fixed very straight, that derives from something very thought out; this compels me to live or behave in a similar way,
Volker Harlan.
Beuys: Yes, right, exactly; in other words, this lives (points to the box) while the other (points to the floor) is dead. The first doesn't force itself on you, the other continually forces itself on you.
Thinking Processual.
Resistance/Viability : Mapping/Living
Meaning that it is not so much a matter of crossing boundaries, but rather a matter of open-endedness. A place where boundaries have become diluted and single figures are already coupled or heterogeneous figures (in the case of Bacon, man-animal).
Kovar/Deleuze.
The Architecture of Abjection.
The Logic of Sensation.
Working From Simple Things/Gestures/Materials.
https://www.flickr.com/photos/russellmoreton/
Theoretical Movements in Clay+Ceramics.
The Circular/Elliptical Matter/Mattering of Things.
Gathering/Pouring/Manifolds : Forms of Thinking.
Events.
Arte Povera.
The Way, without demarcation, rather a way of viability by which the continuum of life is renewed.
The Philosophy of Living.
Francois Jullien.
The Quiet Mind : Silently without resistance
(Sound of barking) Do you listen to that dog? Wait, wait. Silently? Listen to it completely silently, which means without any resistance, without any irritation, just listen to it. When you listen quietly there is no resistance, there is no irritation, you do not identify yourself with the dog and the barking of it, your mind is quiet.
Meditation
The meaning of that word is to measure, basically (for oneself).
Human Bodies/Spatial Bodies.
Kounellis/Opera, interventions, unscripted by workmen, bodies on trolleys.
Penone, wooden frame, human body, empty frame installed in a stream.
Beuys, accumulator, clay balls, wires, simple sturdy wooden table.
Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits.
The Enabling Constraint.
Erin Manning.
Visual Art Practice. 2024
Whether abject(ion) issues forth from a human body, a space or any other entity, it sets the whole world in motion and instigates a chain of exchanges.
In 'becoming' for Deleuze and Guattari we form a multiplicitous assemblage where individual elements are blurred, and together begin to act as a kind of whole. But a whole that is not fixed, as the assemblage also has a side facing a BwO which is continually dismantling the organism.
Through abject(ion) the smells, textures and physical forms of our body space and this excrement leaking out, become fused together. We become part of the space: the space becomes a part of us.
Abject(ion) re-configure the body and space physically through the transference of matter.
Architecture Without Organs (BwO)
The BwO is in fact produced as a whole, but a whole alongside the parts. A whole that does not unify or totalize them. But that is added to them like a new, really distinct part.
Deleuze and Guattari.
BwO plays a role in the notion of an open subjectivity. Kovar asks, are or how are abject(ion) and BwO related, and how might this relation be played out in architecture?
The BwO for Deleuze and Guattari is a concept that uses the virtual dimensions of the body as a set of potentialities that may be activated through becoming, importantly it is a body, understood as process that is continually constructing and deconstructing connections.
To speak of process and the continual construction and deconstruction of connections is to implicate numerous entities between which these connections are made and therefore speak of heterogeneity.
Open Subjectivities.
Unmaking The Human Body/Subject.
Blurring the boundaries between interior and exterior.
Translucent assemblages are all that are left from the transparency/clarity of the morning that will soon dissipate.
Reliquaries of Light and Darkness.
Bodies, spatial and human in transitional movements.
The Sacred and The Medical Body.
The Hospital Room.
The Killing of a Sacred Deer.
Cronos.
Clay/Working/Learning/Making.
Working in Clay and Fire /Mapping Resistance and Viability.
City of Orion, ceramic objects in the landscape.
Raveningham Sculpture Trail. 2024
Ceramic works investigating the relationship of water to the human body and the architectural body of interior spaces.
Water at The Hungate, Norwich. 2023
Exhibitions with Anglian Potters.
Ferini Gallery, Lowestoft. 5
Undercroft, Norwich. 4
All Saints, Cambridge. 2
2019-2024.
Revisited Contemporary Ceramics
Things of Beauty Growing.
The Fitzwilliam Museum. 2018
Anglian Potters. 2018
Teaching Sessions, throwing/handbuilding.
Brockwood Park School. 2012-2015
Speculative Clay Workshop/Walking in the Landscape.
Teaching Academy, Brockwood Park School. 2011
Raku Firings.
St Ninian's Cave.
Scotland. 2013
Bodyscapes, raw clay installations.
Chapel Arts Studios, Andover. 2010
The Yard, Winchester. 2009
Contemporary Craft Ceramics. 2004-2006
Life Drawing/Sculpture, figurative/abstractions in clay. 1996-2002
Dexterity Crafts.
Potter throwing domestic pottery.
Walton on the Hill. 1985
Ceramics, architecturally influenced vessels in slab and thrown processes.
Epsom College of Art and Design. 1981-1984
Industrial Pottery experience.
Grayshott Pottery. 1979-1981
Studio Pottery experience.
The Hop Kiln Pottery. 1978
A Level Ceramics.
Farnham Sixth Form. 1976-1978
Tuesday, 27 May 2025
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.
https://www.flickr.com/photos/russellmoreton/
.jpg)
.jpg)
Monday, 26 May 2025
LIVING Intensity : FRONTIERS OF ARCHITECTURE, Kirosan Observatory/Anti-Object/Anthropology/Art
040521
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
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
LIVING : FRONTIERS OF ARCHITECTURE
Louisiana Museum of Modern Art.
Wang Qingsong : Dormitory, China, 2005
Key Words : Observatory, Camera Obscura, Living, Seeing, Intensity
BEHAVIOROLOGY ( the study of the combination of natural dispositions, social environment and personal experience)
Deals with the special atmosphere and character of the suburb. In film, literature and art the suburb often has an undertone of something mysterious, eerie, of events that are kept hidden.
The dual desire to see and to be seen leads to instability. An object may be made transparent, but it remains an object. And transparent, it is more thoroughly under observation and more thoroughly dominated. Conditions in the suburbs are in a sense even more wretched than those in the panopticon.
Kengo Kuma/Observatory/Anti-Object
Uchronia, Burning Man Festival, Nevada. 2006
Rouen Concert Hall and Exhibition Complex
Architectural Envelope/Heterogeneous Composite
Movement Vectors/Layers : Interior Concrete Skin/Visible Arches of the Steel Skeleton
Painting Space : Yellow ochre on white gesso over kraft paper
An Anthropology of Landscape
Christopher Tilley
Kate Cameron-Daum
Spirituality in Contemporary Art
The Idea Of The Numinous
Jingu Yoon
New Global Ecologies
Baratunde Thurston
INTENSITY : Portable Architecture as Parable. Mark Prizeman
The act of moving through mobile societies makes this transient architecture understandable.
A nomad uses what is to hand and able to be replaced or adapted.
The success of a tent depends on the exploration of an idea in the workshop by wandering through the dream and not being restricted by the finite parameters of a drawn representation of the future object.
Like explorers planning to venture into the unknown, an ability to imagine the consequences of what one takes and what one leaves behind is imperative.
ERASING :
Kirosan Observatory, Kengo Kuma
Observatories demonstrate the self-centred nature of human perception. They are generally objects, that is the core of the problem. I wondered if this observatory could be made transparent, that is, effectively erased, so minimising the damage to the environment.
In terms of erasing an object, the settin is more important than the choice of material. In this case, the setting was a summit that had already been levelled and turned into a perfect pedestal. Anything that is set on a pedestal becomes an object, regardless of what it is made of or how discreetly it is placed.
Most works of contemporary art are tiresome because they rely on this particular property of the pedestal.
Observatory/Artists Outdoor Studio with astronomical 'Hortus Conclusus' /pavilion/segment built from the walled garden.
IMMATERIAL :
Layer upon layer of reality and image, the material and the immaterial, were thus overlapped.
The Camera Obscura and Telescope, Dumfries. 1836
It is not quite clear what the real astronomical purpose of camera obscurae was, not only the Royal Observatory at Edinburgh but also the Royal Observatory at Greenwich still posses theirs, though dismantled and stored in cupboards for a century or more.
Paramatta Observatory, New South Wales, 1822
Sepia stained cyanotypes of architectural building plans
Plaster tabletop viewing screen, concave, chalk/matt surface
Lead weights on natural ropes used to control the apparatus
What I am most interested in now is inverting the structure of a culture that is centred around the city. The twentieth century was an age of industry, and an age in which everything from material goods, information and culture flowed from the cities to local towns and villages. Following the same vector, architecture, too, flowed out from the centre to the periphery.
Kengo Kuma
APPARATUS :
The Observatory is a facility for stealing looks at visitors
Electronic technology is used in these devices to expose the imperfection of vision and reverse its privileged status. Under ordinary circumstances, the seeing object is under the illusion that he/she dominates what they see. However, seeing also opens up the possibility of being seen. Anyone who dominates another through vision is always vulnerable to a brutal reversal.
High and Low, 1963. Akira Kurosawa
I therefore tried designing a transparent object. My real aim was not to create an object, but to choreograph a sequence of movements by the subject, that is, to create a device controlling his/her vision. Anti-Object, Kengo Kuma.
Your Chance Encounter, 2010. Olafur Eliasson
Messr Barr and Stroud, Optical Engineers, Glasgow, used to produce obscuras for industry, they were much cheaper to purchase and maintain in a large industrial establishment than closed-circuit television.
