Visual Poetics/Bricolage/Red is not a colour : The Studio/Space of Real Situations

Spatial Collage : Research/Discourse/Apparatus

Farnham University of the Creative Arts

rhythmanalysis : Space, Time and Everyday Life.

Lefebvre

Jannis Kounellis

Carlo Scarpa

Translates the painterly relationship of figure and ground into the space of real situations

The Visual Poetics of Jannis Kounellis, Suzanne Cotter and Andrew Nairne.

Modern Art Oxford, 2004-2005.

Timothy Morton : Realist Magic

The elasticity of sensation, affective and wonderous.

Speculative Raku Firing. 2012

Red is not a Colour. Bernard Tschumi.

bricolaged notes  from STUDIO UNBOUND : Lane Relyea

Institutional Critique : Studio/Post Studio Activity

SPATIAL AGENCY : Spaces of Fluid Interchange Between Objects, Activities, People.

Today studio and museum are superseded by more temporal, transient events.

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.

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

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.

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

OBSCURED MATERIAL

OUTPOST STUDIO 3.16

Notes from sketchbooks

Apokatastasis : Jim Jarmusch, Jozef Van Wissem

Spatial Asperity/Mesh, Membrane and Gauze

Drawing and its attempts to map out/make visible contingent things

Contingency, is what remains, as it comes up against causality/constantly passing through

Objects/Things conceptualized by the exploration of drawing (intervals of blindness)

Linking Surface to the Aesthetic Experience of Space.

Experiences incorporating interests with environmental textures into Art.

Points of Contact/Confluence of Circumstances

Materials bound by contact/canvas

Patina, absences, gesso, textile wrappings, field chalk, exhumed oyster shells, yellow ochre,

A philosophy of Reading

Solitude/Libraries : Cell/Court/Domain

Clay, Waxed Surface, Liquid Rust, Calico,

Sensate Bandages/Windings/Armatures : Corporeal Landscapes/Assemblages/Things

Social Architectures/Anthropologies/Imaginary Projects

Sally Mann : Matter Lent/Collodion wetplate negatives

Corpus, liquid light, flesh, spirit, trace, outline, human body, performative,

Oscar Tuazon “See Through” : Working with Disjunction/Spatial Forms/Windows/Spatial Collages

Oscar Tuazon “See Through”

Galerie Eva Presenhuber is pleased to present “See Through,” the gallery’s third solo-exhibition featuring new works by the Los Angeles-based artist Oscar Tuazon.

Oscar Tuazon‘s sculptural oeuvre is situated at the border of art, architecture and technology. His large-scale works – shown in exhibition spaces as well as public space and nature – often seem like functional do-it-yourself structures which were once inhabited or will be made inhabitable soon. In terms of form, Tuazon is close to artists of Minimalism and Land Art, such as Donald Judd or Carl Andre. He goes so far as to copy single works of artists like Richard Serra, but without the ironical distance that characterizes appropriation. The process of copying is rather to be understood as a re-building that reduces the work to its sheer material and potential. Furthermore, Tuazon doesn’t focus on the relation between work and architectural space, but on material, the process of building, and the physical agency of the work itself. Often, the collective process of constructing his large-scale sculptures could be seen as a performance which naturally takes place before the actual work is realized.

In “See Through,” Tuazon borrows a form which condenses various concepts explored in his previous work: the window. He installs massive wooden frames made of spruce, cedar, and plywood, that stand in the middle of the gallery space or directly against the wall. At first glance the sculptures seem minimalistic: geometrical frames that define and order space, and at the same time evoke, like Fred Sandbacks sculptures, larger structures. However, Tuazon transcends minimalism: his windows consist of two parts. One part is transparent with a pane of glass built into it, while the other part is crossed by three wooden bars which belong to the wall of a house. These objects, quite clearly, have a certain function. They are windows that separate inside from outside and, at the same time, are transparent. The title gives account to this main feature of windows. But contrary to minimalist sculptures, which put the focus on the surrounding architecture, Tuazon‘s windows exist as architectural elements themselves– constructed by the artist in the studio.

In the exhibition space, the windows are fundamentally alienated in several ways. First, they are not part of a house. Second, their layout creates doubt about their ability to separate inside and outside – to be tight. Furthermore, they don’t allow to look outside anyway: They are positioned either in the middle of the gallery or on the wall. In their quasi-functionality, they go beyond the way of perceiving space expressed by minimalist artists.

Tuazon’s sculptures are easy to grasp, but it’s difficult to spell out their complexity. As windows, their basic function is to disappear. They should be transparent. At the same time, they are displaced, don’t quite work the way they are supposed to, and so are alienated from their usual function. Ultimately, Tuazon’s objects create their own space, which is not equivalent with the surrounding gallery space. What happens within this new space expands the space itself: What happens between the objects and their perception is left to the exhibition visitors – and even that can’t always be controlled individually.

at Galerie Eva Presenhuber, Zurich

The phenomenal nature of the idea : Architectural Intertwining/Environs, object scripted inquiry

Architectural Body

Madeline Gins and Arakawa

Working Notes/Holding in Place

Wayfinding/Movements through accumulated research

Running scripts, enactments, instances, involvements

Collaborative texts, complexity, emergent, discursive 

From The Bookcase to The Field Table : Landing Sites of Inquiry

Spatial Collage 2010

Lead, photographic (pinhole) and inkjet visual material from flickr stream, fixing tapes, cyanotype on tracing paper, pierced and re-positioned elements on paper.

Idea is, 

the invisible of this world, which inhabits this world, sustains it, and renders it visible

Merleau Ponty

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

For Steven Holl, the intertwining of idea and phenomena occurs with the realization of a building as the means for the materialization of the idea force

A methodology of connecting phenomenal properties with a conceptual strategy

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.

A Philosophy of Emptiness

Gay Watson

Artistic Emptiness

Everything flows, nothing remains.

Heraclitus

Rethinking Architecture

Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343

Foucault, Figure 2 Bentham's Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition, annotations, commentary, illustrations and photos.

Tracing Eisaenman

Plenum, juxtaposed to form/haptic values/body absences

Robert Mangold

Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.

Interactions of the Abstract Body

Josiah McElheny

Object Lesson/Heuristic Device

The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.

Space Between People

Degrees of virtualization

Mario Gerosa

Adaptive Architectural Design

Device-Apparatus

Place

Function

Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69

Building The Drawing

The Illegal Architect

Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures

Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.

My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.

The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.

Distant Readings : Reflective Journal 2013. #7

Reflective Journal 2013. #7, a photo by Russell Moreton on Flickr.

Making Entanglements : Spatial Collage, 2010

Lead,photographic ( pinhole) and inkjet visual material from flickr stream, fixing tapes, cyanotype on tracing paper,pierced and repositioned elements on paper.

Making Entangled : An eclectic synthesis of knowledge fields

Confronting Spatial Intelligence-tracing the use of spatial intelligence. 

What are we learning about in the concrete particularity of this space?

Leon van Schaik : Spatial Intelligence

‘Architecture is the product of our spatial intelligence, of its workings in establishing the mental spaces of every individual, and of the spatial values shared by groups.’

The Retreat, Upper Lawn Pavilion. 1959

This country retreat presents itself as a glass box but is grounded by its relationship to the pre-existing masonry of a walled garden. 

Leon van Schaik comments that the little glass house retreat built by Peter and Alison Smithson around a walled garden evokes for him memories(mental spaces) of being a schoolboy working in a conservatory in a walled garden at Cliveden, such that the notion of a retreat is this ideal of being built into the walls of an existing walled garden.

You rise up into its glazed upper storey with views over the rolling hills beyond and perch atop the wall on the edge of a threshold space carved out of the woods, or remove yourself from view sink down to the ground and sit with your back to the wall.

Walking in the Chapel, 5 October 2010.

Walking in the Chapel, 5 October 2010., a photo by Russell Moreton on Flickr.

" Site as the very undoing of Place "

Nowness
Stillness
Solitude
Awkwardness
Relationships
Materials
Learning

Site based inquiry through drawing, performance and installation.
Chapel Arts Studios 2010