Slow Philosophy/Discursive Attachments : Gathering Inquiry/Materials/Objects/Things

Slow Philosophy/Discursive Attachments : Gathering Materials/Objects/Things

Research as a discursive activity gathering new forms of expression.

A practice gathers before it knows what it is gathering. Materials, images, readings, places and forces begin to form temporary attachments, crossing and touching without becoming a single thing. The boundary is less a wall than a membrane: something that holds while allowing exchange. Slow philosophy becomes a way of staying with these movements, allowing materials and ideas to remain unfinished, and therefore available to becoming otherwise.

Slow Philosophy

→ semi-permeable membranes

→ Wayfaring Forms

→ bodies opening to exchange

→ Restless Objects / Ickworth

→ sheltering spaces

→ Ceramic Bodies

→ surface / interior / aperture

→ Permeable Chambers

→ In~~Touching

Duration, Steven Holl

Time is only understood in relation to a process or a phenomenon.

The duration of human beings alive in one time and place is a relational notion.

The time of one's being is provisional; it is a circumstance with an adopted aim for the time being.

SPACE-and ARCHITECTURE-exceeds the provisional

The Enchantment of Modern Life.

Attachments, Crossing and Ethics

The performativity of social representations

When I gather together the animals, arguments, molecules, suggestions, forces, interpretations, sounds, people, and images of this study, one theme emerges. The modern story of disenchantment leaves out important things, and it neglects crucial sources of ethical generosity in doing so. Without modes of enchantment, we might not have the energy and inspiration to enact ecological projects, or to contest ugly and unjust modes of commercialization, or to respond generously to humans and nonhumans that challenge our settled identities. These enchantments are already in and around us.

Jane Bennett

Be not inhospitable to strangers

lest they be angels in disguise

Jackie Leven, The Dent In The Fender And The Wheel Of Fate

David Childers, Heart In My Soul

Collage Works : Architectural Studies. Outpost Studios, Norwich.

Studio Works : Praxis between theory and practice. Outpost 2020.

Outpost Studios Norwich, collage, textual, intermedia, 

spatial practice, resource, project space, art practice, research, book works

Architectural Inquiry : Metaphysical Surfaces

Blue Spaces Of Everyday Enchantments : White Absences #2. Silence/Void : Gap/Reveal

Slow Philosophy : Materials/Objects/Things

Few boundaries are impenetrable.

They are rather, semi-permeable membranes providing housing while allowing selective commerce.

In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'

Tim Ingold 2011

Materials, Tim Ingold, slow philosophy, studio works, textile, clay, painting, yellow ochre

New works around fired clay, painting, wrapping forms, metal, textiles and stones.

Architectural research for a library within a studio.

clay, textile, wrapping, painting, natural objects, 

photographic surface, asperity, poetics of process, studio

Palimpsest/Surface Sprays : Spaces Between Objects

Site based inquiry for sculpture trail at Raveningham

collage, research, spatiality, art practice, alternative photography, 

drawing, architectural, intervention, visual fine art, craft.

I wouldn't put this under Ceramic Bodies, even though clay is present. Its real importance is gathering.

It gathers animals, arguments, molecules, suggestions, forces, sounds, people and images; then moves through architecture, studio work, clay, textiles, painting, natural objects, surface and Raveningham. The idea of the semi-permeable membrane is especially close to your present vocabulary.

The original Ceramic Bodies constellation was:

matter → movement → energy → iteration → interiority

These five introduce another set of movements:

shelter → permeability → gathering → process → wayfaring

And the two sets begin to touch.

“Few boundaries are impenetrable / They are rather, semi-permeable membranes...”

is remarkably close to where Permeable Chambers has subsequently arrived.

The archive is not proving the present practice.

It is becoming capable of corresponding with it.

And Slow Philosophy may be one of the clearest examples so far: the 2021 material already contains semi-permeability, unfinished becoming, gathering, clay, surface, studio, architecture and material reciprocity.

That is much more interesting than simply saying, “this old post is relevant to my current work.”

studio, metaphysical space, collage, Palimpsest, Cristina Iglesias, Steven Holl, Jackie Leven, Tim Ingold, Julian Stair, drawing, sprays, Jane Bennett, Russell Moreton, Lucio Fontana,

Drawing Rooms/Slow Philosophy/Arte Povera : Cyanotypes/Collages/Photography/Installations

Slow Philosophy. 2017
Reading against the institution
Michelle Boulous Walker

Saturnian Form : Lead and Library Dates
Russell Moreton

Emilio Prini
The filter and welcome to the angel, 1967
Environment with participants, doves, artificial green grass, socks, ultra-violet light.
Dimensions variable,
Installation, Studio Bentivoglio, Bologna.

Artist-run exhibition space

Emilio Prini well illustrates the spirit of Arte Povera: the artist is not the creator of artefacts, nor even of a documented 'happening'. In the transferral of energy and subjectivity into matter or an event, the work exists in the instant it comes into being and is simultaneously received.

To document his work in photographs and present these as a record of it contradicts the very basis of Prini's art.
Arte Povera, Themes and Movements
Carolyn Christov-Bakargiev

Intermedia Chart
Dick Higgins
Molvena, Italy. 1993

Collage Body : Diversions, Contradictions and Anomalies.

Collage : Diversions, Contradictions and Anomalies.

Body : Personal Relations and Spatial Values

Reading : Slow Philosophy

Collage's integral methods of discordance and displacement have so insistently reflected turbulent developments in twentieth century art, science and geopolitics that our response might be to categorise the whole genre as iconoclasm or subversive fantasy.

Sally O'Reilly

Collage does not simply bring fragments together. It allows them to remain different while entering a temporary relation. Image, word, body, site and atmosphere occupy the same field without resolving into a single meaning. The collage becomes a spatial situation: a place where contradictions, diversions and anomalies can remain active. What is assembled is therefore not a whole, but a condition for further correspondence.

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

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

Research Material
Photographic Drawings

PETER ZUMTHOR ATMOSPHERES

Architectural Environments
Surrounding Objects
2006 Birkhauser, Basel, Switzerland.

The New Institutional Practice

Projective Enterprises (should unsettle, activate, and raise questions)

The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary 

So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes

Site-Specific Art and Locational Identity

Miwon Kwon 2002

Collaborations and its Discontents

Claire Bishop 2006

The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions

A complex environment, awash in affect and subjectivity

When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour  

New curatorial initiatives must unpack the terminologies we use to distinguish one project from another

A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives

Unsettling-Complicit

Provocative-Strategic

Interventionist-Collaborative

Perforative Curating/Prescribed Participation

Creating new/more coded patterns of behavior/conventions/role play for visitor's

New Institionalism and the Exhibition As Situation/Social Experiment

Claire Doherty 2006

Participation

In which people constitute the central artistic medium and material

In the manner of theatre and performance

Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it

The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations

The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end

Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries

Artificial Hells (exposing the political and aesthetic limitations in the work)

Participatory Art and the Politics of Spectatorship

Claire Bishop 2011

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

Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames

Participation, creating a bridge between socially engaged practice and the permanent collection

Expressing itself expressing 

Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions

Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact

Its actual body is collage as a spatial and discursive apparatus.

The post moves between word/image, Twombly, photographic drawings, Zumthor, architecture, site, participation, institutional practice and the idea of the artist as producer of situations rather than discrete objects.

This is important because it gives us another route into your current diffractive archive thinking.

And I think “collage body” is worth preserving as a tag. It has a nice relationship with ceramic body, spatial body, drawing body.

Not everything has to become ceramic.