Because the faculty of sight is continuous, because visual categories (red, yellow, dark, thick, thin,) remain constant, and because so many things appear to remain in place, one tends to forget that the visual is always the result of an unrepeatable, momentary encounter. Appearances, at any given moment, are a construction emerging from the debris of everything which has previously appeared.
John Berger, Berger On Drawing.
Art and Ontography.
Open Philosophy.
Remonstrating on art's openings, their natural theatricality, and on the truthful deceptiveness of all revelations of the real.
Simon Weir, Object-Oriented Ontology and Its Critics. 2020
Art and Architecture : Anselm Kiefer and David Chipperfield at the RA
VITRINES : Art Spaces/interiors/interventions.
Anselm Kiefer :
In the Annenberg Courtyard
Velimir Khlebnikov: Fates of Nations: The New Theory of War
Anselm Kiefer often dedicates his works to intriguing figures of the past, be they poets or philosophers. This piece is one of a number of works emerging from Kiefer’s ongoing exploration of the Russian Futurist avant-garde writer, theorist and absurdist Velimir Khlebnikov (1885-1922).
After years of study, Khlebnikov concluded that a major sea battle took place every 317 years, or multiples thereof. Kiefer celebrates this heroic and ludicrous activity with a work that is both monument and anti-monument. Measuring almost 17 metres in total and consisting of two large glass vitrines, Kiefer creates a transparent, reflective sea-scape in three dimensions that calls to mind the Romantic sublime of painters from JMW Turner to Caspar David Friedrich. Kiefer uses the frames of the vitrines to stage a mysterious drama, in which viewers, seeing each other and their own reflections, become participants.
Keywords: Anselm Kiefer architecture art hermeneutics history
The Architectural Lessons of Anselm Kiefer's La Ribaute
Stephen Wischer.
This article examines the architectural significance of Anselm Kiefer’s situated art practice, exploring how relationships of poetry, history and culture, presented across all of his work, provide vital lessons for architectural thinking and doing. Kiefer’s creation of La Ribaute, outside Barjac, France, is particularly well suited to the study of a hermeneutic approach to architectural creation, since the reinterpretation of historical and mythical themes across painting, sculpture, earthworks and architecture critically situates modern creative practice within the larger continuum of human culture and knowledge.
Stephen Wischer is an Associate Professor of Architecture at North Dakota State University, where his teaching of history/theory seminars and design studios emphasize interdisciplinary relationships between art, architecture, writing and philosophy. His artwork and architectural investigation involve intensive process-based explorations which have been exhibited in both Canada and the United States. His doctoral research at McGill University in Montreal, Quebec, explores hermeneutic readings of artistic creation and historical texts in relation to architectural praxis.
Diffraction, as a physical phenomena and a tool for analysis that attunes us to ongoing differences of the worlds continous becoming.
A Diffractive Methodology/Performativity
Knowledge Making Processes
The Agency of/and Cutting Together/Apart
Agency is doing/being in its intra-activity
Performing phenomena entails investigations of the material-discursive boundary-making practices that produce 'objects' and 'subjects', and other differences out of, and in terms of, a changing relationality.
A phenomena is a specific intra-action of an 'object'; and the 'measuring agencies'; the objectand the measuring agencies emerge from, rather than precede, the intra-action that produces them.
Karen Barad
The central idea is that 'the thing' 'we' research, is enacted in entantanglement with 'the way' we research it.
Agencies emerge with specific qualities, this means that we might recognize agency in different forms as relations, movements, repetitions, silences, distances, architecture, structures, feelings, things, us/them/it, words
We paint-sculpt-compose and write with sensations.
INSIDE THE VISIBLE
impulse of the possible
an elliptical traverse of 20th century art.
in, of, and from the feminine.
edited by M. Catherine De Zegher.
front cover:
Anna Maria Maiolino,
Entrevidas (on the margin of life), Installation, photo: Hanzy Stakl. 1981
The plane of composition through which articulation eventually emerges is populated by the thought of the work, its inner rhythm. Deleuze and Guattari calls this inner rhythm a block of sensation.. Blocks of sensation are forces that compose thought's durational attitude.
Deleuze ,Guattari. 1994.
Rhythm is determined not by the length of the edited pieces, but by the pressure of the time that runs through them.
Sculpting in Time, Tarkovsky.
For Tarkovsky, editing from within seeks to create space-time, not simply reproduce it. To edit from within is to compose with the more-than of language's actual articulation. It is to work with language's pre articulated virtual force, directing enunciation such that its virtual effects are felt within actual expression.
For Amanda Baggs, communication through words remains inadequate to the singular experiences of sensation the world calls forth.
Thought is a proposition for Feeling-In-Motion.
Thought is more than a form taking of words.
Words are an extra component of the experience of articulation, not its final form. Words cannot fully express experience's complexity.
Language must be called forth as a layering-with of the affective tonality of expression.
An inquiry and its translation that transduces the event of language's becoming with sensation.
Language does not replace the sensual exploration of the relational environment, it moves with it, becoming one more technique for composition.
The Relational Cusp :
Of Becoming-Events-Objects-
Movements Expressing The Force Of A Relational Environment.
This sensory becoming is a form of thought.
Being/Becoming in a constant conversation with every aspect of my environment, reaching/reacting physically to all parts of my surroundings.
Artworks/Art working to create a relational nexus that can expose the world at the incipience of its sensory becoming.
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
Leylines: St Bartholomew’s Church and Hyde Gate/Chamber. Winchester SO23 7DF. www.hyde900.org
“Leylines” has been appropriated and employed as both a practical and as a conceptual strategy to inquiry into places and localities. Site visits and sensitive dialogues with the other artists at a number of locations have further brought materials and processes into the creative realm. The spatial practice of setting-up this work has also produced insightful local knowledge from those dwelling nearby.
Beams and Netting: Negotiations in the chamber.
Clay, Hessian, drawings and transparencies from architectural openings, drawing frame, antique glass, lead and nylon lines.
This intervention into a listed building has become a temporary refuge for a work in progress. The work attempts to show a creative agency as it encounters a host of installed hierarchies and conditions. The architectural motif on the drawings has been derived directly from the open apertures of the chamber, and these drawings also reference the supportive ironwork (Ferramenta) which has been playfully re-registered as a graphic leyline . A drawing frame similar to that used in archaeology for drawing has been adapted to illustrate the relative positions of the leyline as registered by the ordnance survey grid, both terminuses being labelled on the frames periphery.
The Poetics of Space : The house, from cellar to garret. The significance of the hut.
“He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to the cellar carrying a candle. But the unconscious cannot be civilized. It takes a candle when it goes to the cellar.”
Robert Ryman : Used Paint, Suzanne P. Hudson. 2009.
The wall of the gallery is, of course, the surface of the paintings and the wall is virtually pulled into the paintings. While the concept is important, the work has to do primarily with visual response.
Monitor, 1978. Oil on stretched cotton canvas with metal fasteners and four bolts, a thing of its own , with the wall.
High in the architecture,
Something's moving,
Unrecognisable spirit,
Dislocated
It's fate belongs to another time,
Another place,
Projections of fallen masonry,
Ghosts of a once pagan temple,
Standing empty,
I stand empty,
Nothing ever happens,
A vessel filled
Held and spilled,
Nothing,
A trace from another time,
Another place.
Angels, from Sleepwalkers, David Sylvian.
David Sylvian as a philosopher, a foray into postmodern rock, Leonardo Vittorio Arena.
An architectural
experience where a site/plot becomes a space of interaction, of
mutual subjectivity and inter-subjective identifications.
Drawing attention to
the body's concealment, and a list of more reliable things.
Things that through
reflection and assessment had made her happy in the past.
A site for something
else.
A set of experiences
rather than physical features.
The ambiguous state of
hiding and revelation.
Minimalism, fluid
actualities, spaces between things.
White Paintings, Robert
Ryman.
On the daylight nature
of materials and substances.
The inside of your home
is private and your personal realm of expression, the outside is part
of other people's lives.
Architectures that
determine how to live/movements for living.
Woodman's juxtaposition
of smooth skin and scarred architectural details, alludes to a visual
tactility, a kind of attack on the body's surface. An
undoing/un-fixing of the smooth skin of which female beauty is
assumed to be lodged.
A myriad of textures,
colours, new insertions into the worn character of the old repaired
building.
Home-Studio, as an
autobiographic experience, a place that can be circulated and
incorporated into your lives and personal histories.
Skin-Surface-Subjectivity.
Harriet Katherine
Riches, 2004.
Staged Conjunctions.
Photography and its
phantasm of fusion with the environment and other bodies.
Surfaces, broken down
bearing the marks of neglect and decay, patina and aesthetics.
Evacuating a temporal
recession into the past, revealing layers upon layers, and the
literal tearing or scraping away of the photographic surface.
Asperities between a
bodily discomfort provoked by the interplay of skin with the torn and
peeling sheets of parched wallpaper, and an irritating, scratching, a
pulling away of the delicate layers of the body's skin.
Woodman's paper shell
also evokes the maternal body as a space in from which the
individuated subject emerges.
One needs to feel the
texture of the surfaces and objects in the pictures against
bare-skin, to truly understand what Woodman hoped to achieve in her
work.
Sloan Rankin, Francesca
Woodman, 1998.
Identity becomes
discrete and subjectivity realised.
For each photographic
self-reflection momentarily ensures the continued (mis) recognition
of the subject's own bodily borders falsely acting as mirror like
surfaces which prevent the subject's re-absorption into both herself
and her surroundings.
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