Confessional Spaces~Spatial-Situationist Apparatuses : A Line of Flight, Vessel, Sculpture or Fiction.

Clay-Ceramic/Thinking Architectures/Interior Places.

2024. Ceramic. 260mmL x 350mmH x 160mmW.

Making Spatial Research Creation.

Interior Social Places : Perforated Inner Spaces

Pigeon Houses/Dovecotes for Philosophers.

This item resembles a handmade rustic bee hotel, often used in gardens as a wildlife habitat.

It features pre-drilled holes designed specifically to provide nesting spots for solitary bees.

The structure is typically constructed from wood, sometimes featuring recycled or scrap materials. 

A "line of flight" (ligne de fuite) is a core concept developed by Gilles Deleuze and Félix Guattari in A Thousand Plateaus. It represents an act of escape, a sudden rupture, or a creative vector that allows a rigid system to break down and transform into something completely new.

What do I know?

Michel de Montaigne.

A house for confessing animals.

Michel Foucault.

What does Deleuze mean by plane of immanence?

Plane of immanence (French: plan d'immanence ) is a founding concept in the metaphysics or ontology of French philosopher Gilles Deleuze. Immanence, meaning residing or becoming within, generally offers a relative opposition to transcendence, that which extends beyond or outside.

Pink Cosmos : Research Collage~Diffractive Inclusions and Annotations

Google Lens

Panopticon~Peter Gabriel

The image shows an open book, "The Activist Drawing: Retracing Situationist Architectures from Constant's New Babylon to Beyond," edited by Catherine de Zegher and Mark Wigley. The book features a diagram of Jeremy Bentham's Panopticon prison design. The Panopticon is a circular building design intended to allow a single observer to monitor all inmates without them knowing if they are being watched, which induces a sense of permanent visibility and self-regulation of behavior. 

Google Lens Artwork Details. Artist: Russell Moreton, a UK-based contemporary artist specializing in experimental drawing, alternative photography, and ceramic art. Concept: This piece forms part of his exploration into “Spatial Poetics” and the concept of “Fragile Architectures of Hapticity and Time,” which draws heavily from Gaston Bachelard’s philosophical readings regarding memory, refuge, and spatial daydreaming (reverie). Material & Structure: The artwork consists of slab-built earthenware or terracotta clay. It takes the minimalist silhouette of a house or primitive shelter, punctuated by precisely drilled circular apertures and incised linear markings that imply schematic cross-sections, architectural measurements, or coordinates. Surface Finish: The surface displays a heavily textured, matte, earth-toned finish achieved through slips, iron oxides, or specialized atmospheric firing techniques to simulate weathered stone, rusted metal, or aged brick. The philosophical concepts (like Bachelard’s The Poetics of Space) that inspire this work. The firing techniques used to achieve these specific earthy surface textures. Other pieces in this specific ceramic series.

The Relational Perspective : The Archive, correlated and entangled.

 Outpost 201022

The Archive.

The Relational Perspective.

Correlated and Entangled.

The archive governs the said and the unsaid, the recorded and the omitted, and the aim of the knowledge archaeologist is to learn about the past via its material remainders, retrieving and reconstructing the archive to show how it can shape the construction of a historical meaning.

Foucault.

Despite a gaze that is seemingly looking back, the archive is always dominated by a sense of the future, a desire for eternity that reaches beyond death.

Derrida.

Text.

The Discursive Material.

In a book, as in all things, there are lines of articulation or segmentarity, strata and territories; but also of flight, movements of deterritorialization and destratification. Comparative rates of flow on these lines produce phenomena of relative slowness and viscosity, or on the contrary, of acceleration and rupture.

The beauty  of the assemblage is that, since it lacks organisation, it can draw into its body any number of disparate elements. The book itself can be an assemblage, but its status as an assemblage does not prevent it from containing assemblages within itself or entering into new assemblages with readers, libraries, bonfires, bookstores, etc.

Assemblage.

Deleuze and Guattari.

Surprising and meticulous the archive provides an understanding of the key stages in the artist's development. The sketches, workbooks, models and photographs speak of a creative moment in the past, but form a bridge to a potential future action, underlying the intellectual and stylistic consistency that distinguishes the artist's works in the visual arts, theatre, architecture and graphic design.

The archive here is neither an accumulation nor a scientific and objective rendering of materials, but a theatre of the memory where several characters pursue one another and interweave on stage, revealing their identities past and present.

Alfredo Pirri : RWD-FWD 2016

Curated by IIaria Gianni, RWD-FWD is the first appointment of the project I pesci non portano fucili (Fish cannot carry guns), whose title is a quote devoted to Philip K. Dick's work The Devine Invasion (1981), in which the author imagines an unarmed and fluid society, comparable to the open sea.

The RWD and FWD (rewind and forward) buttons will always be remembered with nostalgia by the generation that lived through the transition from analogue to digital. Re-listening to or re-seeing what has already passed and then, at the mere press of a button, projecting oneself into the future has enabled us to feel powerful ahead of our time. By elevating this simple action to a metaphor for the unique sense of omnipotence, light-heartedness and modernity that distinguished the 1980s.

Not only does the material conserved by the artist take our thoughts back in time, it also allows us to veer towards a time yet to come, opening up a past that always hints at a potential future.

An Attitude To History.

Castelvecchio.

Carlo Scarpa

Jannis Kounellis.

Kairos, the movement and its moment.

Being Alive.

Tim Ingold.

SPAB.

Society for preservation of ancient buildings.

The First Markings/Demarcations and Localities.

Leaving traces that are both symbolic and practical.

The Production of Space.

Lefebvre.

The exhibition takes the form of an open and participatory narrative script, conducting spectators through an archaeology that records and presents personal moments, movements and stories inscribed within a more universal cosmology.

Iiaria Gianni. 2017

Each step of this extensive shared project, conceived as a journey inside Alfredo Pirri's work, thought process and research, will be independent, yet, at the same time in dialogue with others.

The choice to use the artist's studio as an exhibition space comes out of the desire to give the audience the possibility to discover the venue in which he usually meditates, collects his source materials, his documents and creates his works. For this occasion a selection of material (traces of research) produced and preserved by the artist, both physical and conceptual witnesses his thinking process.

Studio as an immersive space, a place of meditation, inhabited by forms sometime evocative of vegetable ones, and linking up to the work of the botanist Anna Atkins, a pioneer in the study of flora using cyanotype and author of Photographs of British Algae : Cyanotype Impressions.

The Archive/Exhibition.

References what remains and what is moving forward, outlining a past and prefiguring a future.

The large-format cyanotype prints record the phases of a work process and what it leaves behind.

The archive provided by Alfredo Pirri declares itself as an attempt to collect, as fully as possible, and to conserve a past, albeit in an idiosyncratic order with unexpected and fragmentary material which is an inevitable part of a life and a creative process.