Showing posts with label Jan Fabre. Show all posts
Showing posts with label Jan Fabre. Show all posts

Sunday, 3 May 2026

Diffractive Surfaces/Visitors : Imaginative Cartographies/Spatialities/Fictions/Epistemologies

Speculative Fields/Spatial Practices
Outpost Studio : 03082021

Materials as Leaky Things/The Correspondences of Surfaces  : For Tim Ingold






Visual Diffractions~Water~Abbey : Orthoclase, or orthoclase feldspar.

Site-Specificity/Spatial Practice.

The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate

Miwon Kwon 1997

Google Lens.

The image displays a large black-and-white photograph of what appears to be an abstract or textured surface, potentially a wall or rock formation, mounted on a sheet of paper with various textual annotations and clippings. 
Textual elements in the background include references to the film "VISITORS" directed by Godfrey Reggio, and a quote attributed to Friedrich Nietzsche: "We have art that we may not perish by the truth".
Other text fragments mention architecture and specific locations like Suchumi.
The primary image itself is a high-contrast, grainy depiction of a rough, dark surface with lighter, irregular patches.
The overall composition suggests an artistic or documentary presentation, possibly an exhibition piece or a study of texture and decay.














Discursive Reading (against linearity)/New Modalities of Inquiry

New Generative Boundaries/Situatedness

Wayfinding and Heuristic/Everyday Practices


Reading is also thinking through the body

Viscous Porosity/Flesh of the world

Enfleshed Materialism/Membranes that affect interactions


Words Become Material

Troubleyn Laboratorium/Jan Fabre


In this moment the words become a performative agent writing and acting on the body

Installing ourselves in the event, that emerges in our reading


Reading diffractively means that we try to fold these texts into one anther in a move that flattens out our relationship to the material. In so doing we install ourselves into its/our becoming

Thinking with Theory in Qualitative Research/Barad Thinking with intra-action

Alecia Y. Jackson, Lisa A. Mazzei


Paintings/Art Works are boundary making apparatusses

The Diffractive Apparatus/Analysis of Intra-ventions/actively/entanglements

Phenomena and Thresholds from which to create new analytical questions/forms


An entangled state of agencies, that which exceed the traditional notion of how we conceive of agency, subjectivity, and the individual.

Agency is an enactment, not something that someone has. Such entanglements require an analysis that enables us to theorize the social and the natural together.

Barad


Diffraction

Two major authors write about the metaphor of diffraction, Karen Barad and Donna Haraway.
They explain how diffraction is a method for reading and writing based upon the physical phenomena. Diffraction is a way of coping with epistemological problems of representation (invisible knowledge maker as a false sense of objectivity, self-vision of reflexivity as totalizing and undermining knowledge claims).

To paraphrase Haraway, from "Modest_Witness@Second_Millenium.FemaleMan_Meets_OncoMouse" diffraction is an attempt to make differences while recording interactions, interference, and reinforcement. It does not have an origin and has a heterogeneous history. In addition, the practice of diffractive reading and writing never sediments the relationship between signifier and signified. Van der Tuin explains, "Diffraction is meant to disrupt linear and fixed causalities, and to work toward ‘‘more promising interference patterns’’ (26). She also explains that this can be practiced by reading texts through one another, and rewriting.This disrupts the temporality of a piece of writing, transverses boundaries such as discipline, and can change meanings in different contexts opening up meaning.

https://newmaterialistscartographies.wikispaces.com/Diffraction


Diffracting Photography/Painting/Collage Works
Heuristic reconfigurations through making/understanding/encounters with material









Is there still an aesthetic illusion? And if not, a path to an “aesthetic” illusion, the radical illusion of secret, seduction and magic? Is there still, on the edges of hypervisibility, of virtuality, room for an image?
— Jean Baudrillard, The Conspiracy of Art, 2005


Collage Works, A Hut of Ones Own
Jana Sterbak
Remote Control 1989






















A heuristic technique (/hjᵿˈrɪstᵻk/; Ancient Greek: εὑρίσκω, "find" or "discover"), often called simply a heuristic, is any approach to problem solving, learning, or discovery that employs a practical method not guaranteed to be optimal or perfect, but sufficient for the immediate goals.


A Hut of One's Own, Ann Cline


Texts, Annotations, Foundations, Pathways, Corridors, Bookmarks, Walking, Thinking, Ramble, Cross Country, Disciplines,



















Sunday, 23 June 2024

Interactions of Colour and Bodies : Rothko/Neri/Kundera/Schiele, subjects alone in a moment of utter immobility.

Manuel Neri

Milan Kundera

Josef Albers

Mark Rothko

Egon Schiele


The use of the word 'immobility' recalls an article that Rothko wrote in the 1947

"For me the great achievements of the centuries in which the artist accepted the probable and familiar as his subjects were the pictures of the single human figure - alone in a moment of utter immobility."

p84, Possibilities , 1, New York, 1947



The world is overloaded/the nature of things : Peter Zumthor, Jean Baudrillard


The world is overloaded of signs and information, representative of things that nobody completely understands, because they are in turn nothing but signs representative of other signs.

The real thing remains hidden. Nobody can ever see it.

Peter Zumthor


The nature of things cannot be discovered by analyzing them according to their functions, by labeling or categorizing them but by understanding their relationship to people, their behavior and emotions which caused creation of these objects.

Jean Baudrillard





















Monday, 13 September 2021

Relationscapes/Material Flows : infra Body, Personal Relations and Spatial Agency

Slow Philosophy
Reading against the institution

Troubleyn Laboratorium
Jan Fabre

Every colour has its own perspective.
Jenny Saville

Material flows and currents of sensory awareness in which images and objects reciprocally take shape.
Tim Ingold

The Dynamic Real
Vibrant Matter
Jane Bennett

infra
Max Richter
Wayne McGregor
Julian Opie

Vitality
Difference
New Materialisms
Elizabeth Grosz

Diffraction attends to specific material entanglements, a discursive phenomenon that makes the effects of different differences evident.
Performativity, subject and image do not pre-exist as such, but merge through intra-actions. 
Karen Barad

Collage, Superimposition, Bounded and Un-Bounded 



















Space and Place
THE PERSPECTIVE OF EXPERIENCE
Yi-Fu Tuan

1959 : Patti Smith
Peace and Noise

Lingering at the threshold between word and image
Cy Twombly
Claire Daigle

https://www.tate.org.uk/context-comment/articles/lingering-threshold-between-word-and-image

Although his work resonates strongly with generations of younger artists, ranging from Brice Marden to Richard Prince to Tacita Dean to Patti Smith, it has a general propensity to polarise its audience between perplexity and unbridled admiration.

Certainly, the fortuities of a name are being pushed too far here, but what does Twombly do but offer up words in all of their resonance: literal, metaphoric, corporeal, material? His citations often have the vanitas effect of graffiti: ‘Cy was here’. Lingering at the threshold between word and image, Twombly renders visible those things – experience, emotion, the body’s share – that lie beyond the reach of verbal articulation.

Existential Gestures : Looking away from the sea

Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modern type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'
Shusha Guppy, Sunday Times