Inscriptions/Undoings of Birth/Becoming : Ambiguities of figure/ground, subject and world. Photographic Drawings #4

Relational Movements : Temporal foldings and the experience of wonder

Francesca Woodman : Becoming-woman, becoming-imperceptible, becoming-a-subject-in-wonder.

Lone Bertelsen

For Irigaray, Air is the first element, wonder as the first of the passions.

We are not in the presence of a passively representative image, but of a vector of subjectivation.

Guattari

Woodman's work produces an intimate mode of looking, a questioning body on time and space

Intermediaries/Intervals remain after folding subject and object into one another.

Relationscapes : Erin Manning

The Elasticity of Sensation/The Experience of Wonder

Deleuze argues that Bacon is not fascinated by 'movement' as such, but by its effects on an immobile body and with 'interior' and 'invisible forces'.

Intermediary States, Patina and Process/Sensation and Movement

 Intermediary States : Wonderous Mobility/New Individuations

The Abstract Field : Robert Cooper

Organism, Person, Environment : Processional Inquiry/Thinking/Becoming

Francis Bacon, Deleuze on the elasticity of  sensation and movement.

From its most vegetative to its most sublime functions, the living being has need of wonder to move. Irigaray, Ethics of Sexual Difference. 1993

Drawing from the body, creating a transformative force of both air and body

Methodologies for Spatial Agency, thinking in movement between potentialities 

On the Nature of Photography/Contingent Assemblages 

Spaces of wonder between process, material and becoming with the world

Monochromatic Paths of Patina and Process of What Remains Remembered

Anachronistic Makings : Thrown Ceramics and Pinhole Photography

Inscribed markings across the form and surface of a vessel, hollowed out to reflect its reflective void

Leaded window, a frottage as a working drawing

Raku Pot with sepia prints, landscape with pottery

Wrapped, wired and bandaged ceramic, gesso white and linen 

Luminescent veiled and painterley applied light captures an expression of being in the land

Spatial Drawings/Psychogeography #2 : Analogue Photography

Core, Periphery and Semiperiphery : Spatial Drawings #2

Autonomous Project/Creative Anarchism
Psychogeography : The Skies over East Anglia (35mm film)

Reflective Narratives

fig504 Photographic Forms/Intervals (10 Days in the Laundry)
Art as Spatial Practice.
Space folds : Containing "Spatialities around historicality and sociality"

"All that is solid melts into air"

Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)


Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

Pandora's Box : Jan Dibbets on Another Photography

Jan Dibbets et Fabrice Hergott | La boite de... by paris_musees Jan Dibbets has addressed this project radically. For him the power of the photographic medium lies in its specific characteristics and technical possibilities, rather than in its content and subject matter. At odds with the ongoing institutionalisation of the documentary image, he quotes Duchamp's reply to a question from Stieglitz in 1922: "You know exactly what I think about photography. I would like to see it make people despise painting until something else will make photography unbearable." (“Can a Photograph Have the Significance of Art”, MSS, no. 4, December 1922, New York). Breaking with the standard museum codes while adhering to a more or less chronological framework, the exhibition investigates the nature of the photograph in the digital age and photography's relationships with the visual arts. Although the discipline quickly became a competitor for painterly realism – think Ingres – it is the scientifically oriented photographers of the 19th century who emerge here as the true visionaries, paving the way for entire output of the 20th century. Nicéphore Niépce, Gustave Le Gray, Etienne-Jules Marey and Eadweard Muybridge are on show here, alongside other photographers less well known – but for Dibbets just as crucial – including Wilson A. Bentley and Etienne Léopold Trouvelot. Their direct successors are Karl Blossfeldt, Man Ray, Alexander Rodchenko, Paul Strand and Berenice Abbot – in a line that continues on to Bruce Nauman. As an apologia for photography's reproducibility, the "Pandora's Box" the discipline represents for Dibbets is a recipe for total freedom: side by side he shows two similar images, or a positive and its negative, or a copy of a famous work made by a later photographer. The high point of the exhibition is a selection of photographs by contemporary artists – among them Thomas Ruff, James Welling, Wade Guyton, Seth Price … – whose recourse to digital technology compels an extension of the concept of what Markus Kramer calls the "photographic object".