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What's left behind?

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judith brocklehurst

on 26 January 2016

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Transcript of What's left behind?

Rebecca Horn

Gordon Matta-Clarke
What’s left behind? Tracing presence and absence from the studio to the city.

: Derrida's use similar to the track or path, denotes the absence of the person or people who made the mark.
Derrida is suspicious of the privileging of presence of "being -dasein" in Heidegger he begins to look at absence, using methods of deconstruction of language suggested in Heideggers texts ...

: study of being, plays a large part in phenomenology
: lost futures,wiped out by neoliberalism. 'When you come to think of it, all forms of representation are ghostly. Works of art are haunted, not only by the ideal forms of which they are imperfect instantiations, but also by what escapes representation.' Andrew Gallix
The Truth in Painting, Derrida
Pg 37 The Parergon
concerning the frame, finding impurity in the heart of the pure, breaking down Greenbergian modernism.

Deconstruction disrupts rather than destroys, creates new understanding by taking things apart.
A direct response to grand narratives of structuralism. There is no singular origin.

: bodily felt reactions (more than emotions)
similar to Barthe's description of
, both are subjective but one is definable in language and comes from the viewer the other
rises out of the image and pierces one.
Link between the trace, affect and pschogeography can guide us when moving through the city, through a gallery. It can shift us from our usual path.

The traces artists in the gallery might allow us to see and feel the city differently.
: an awareness that diverts us from our usual path, deliberate drifting.
The study of the specific effects of the geographical environment (whether consciously organized or not) on the emotions and behavior of individuals.

More on the situationists
In a
one or more persons during a certain period drop their usual motives for movement and action, their relations, their work and leisure activities, and let themselves be drawn by the attractions of the terrain and the encounters they find there… But the dérive includes both this letting go and its necessary contradiction: the domination of psychogeographical variations by the knowledge and calculation of their possibilities
Robert Smithson Monuments of Pessaic
context of
Empty Lot
The neighborhood of Ajusco … evolved gradually in a nonplanned area in the southern part of Mexico City. Back then nobody thought that it could be inhabited. The people there took over plots of volcanic rock and started building their houses slowly over time. They had no money and no knowledge of architecture or engineering, but lots of needs. This fueled them to weave a strong social fabric and become a very politicized community. People would work together to build a new wall, or march together to claim ownership of the land and demand basic services such as electricity and running water. They would demand education and the right to live dignified lives.
Link to Tate Shots: http://bcove.me/saort8tz
Non-Representational Theory
Nigel Thrift

Context: Derrida, jewish born in Algeria.
Debord: Disenchanted with commodification of place and image
Radical Cities
Justin McGuirk

On the Passage of a Few Persons Through a Rather Brief Moment In Time
Context is ever expandable, hence our need to frame, but we need to be aware of the frame and who constructs it.
Link to google books http://tinyurl.com/pwzyfqk
Making meaning from absence.
French Philosophy and Social Theory: A Perspective for Ethics and Philosophy page 53
Thanks to Barry for this link
economic subtext
personal memories
links to the outside world
Absence in terms of performance/body art
the artist/body is absent to activate the props/body sculptures, that are displayed.

Theatrical, mechanised movement without people
uncanny. Anthropomorphic: things that behave in a human or animalistic way.

How do we frame the work?
Wider private and public context of Horn's work.
Memory of works elsewhere, of other artist's works Frida Kahlo, Louise Bourgeois Links to more recent works Olafur Eliasson. Magritte/surrealism

Christov-Bakargiev states in her exhibition essay about curating and connectedness in the digital age, “When an artwork is looked at closely, it becomes, as in meditation, an ever more abstract exercise, a thinking and imagining while thinking, until the phenomenology of that viscous experience allows the mind to merge with matter, and slowly, possibly, to see the world not from the point of view of the discerning subject, the detached subject, but from within so-called objects and outward.
from socialistaion to sociologization
Nicholas Bauriaud Relational Aesthetics
only possible through public participation.
Absence in terms of Bruno Latour
Objects as proxies for the humans who invented them. In this way they are social objects.
innen stadt aussen
feminism 1970's
Berlin, cold war
post war childhood
Berlin Exercises
Spatial impact of the body.
Relationship of the studio
to the city to the gallery.
Artwork socialized by the gallery

Horn setting rules
for herself in order to make the work.

Relation of her works to
contentious places.
Concert for Anarchy
The piano is freed its from normal purpose.
What is unique and continuously new about the work of this artist is that each single installation is a step towards breaking down completely the boundaries of space and time, opening up crevices to a universe, the existence of which we can only sense.
Was Rebecca Horn's
Prof in Hamburg
Les Amants
Space or Place

Heterotopias of time' such as museums enclose in one place objects from all times and styles. They exist in time but also exist outside of time because they are built and preserved to be physically insusceptible to time’s ravages.

Heterotopia has a function in relation to all of the remaining spaces. The two functions are: heterotopia of illusion creates a space of illusion that exposes every real space, and the heterotopia of compensation is to create a real space—a space that is other.

The body in this instance alters the space that it is in, forcing the structures to work around it in order to accommodate it. The impact we have on places and the impact places have on us.
Derrida 'Other spacing' building as more of a happening than a thing
Injecting humour
from next door
Absurdity of signs
how to suffer
for your
Please feel
free to be
The need to touch
Signs without words
Difficulty of
self reflected
Fake Estates
Booth's poverty map
of Southwark 1898

studied architecture
championed by Willoughby Sharp who was
involved in Earth Art movement 1970’s

managed and staffed by artists
Art community link
relational aesthetics
Artistic intervention in urban setting

Voids and gaps, non spaces
Fake estates ownable but untenable

Walls paper
Interior Exterior
displacement from one part of NY to another

also in the room
Riding the Cut Vein
Mark Bradford 2013
Demarcating poverty and change through commercial posters
Layers of use. adds and subtracts -mirroring the city
Jacques Mahé de la Villeglé 1961
found posters cut off the walls and presented as work, with little or no intervention.

Rachel Whiteread,
Richard Wilson,
Turning the Place Over
Its effect was to throw the still functioning site of the gallery into a certain relief, locating the outmodedness of a building elsewhere by reproducing the structures of its walls on another building’s surface. As such, the relationship between the respective sites was not conditioned simply by the place of art and architecture, but by the uneven temporalities of both. The timeliness of each building – one now ‘alive’, the other now ‘dead’ – spoke to the virtual ‘speed’ of the built environment, the endlessly fluctuating historicity of its architecture.
(Lee 2000)
You are the Measure.
Conical Intersect
Deconstruction, cutting away
what is left behind is the artwork, we are left to piece together the context as they take on new meanings as they are socialized in the Gallery
Studio and Cube Brian O'Doherty
mapping affect
Context is ever expandable, hence our need to frame, but we need to be aware of the frame and who constructs it.
Context is ever expandable, hence our need to frame, but we need to be aware of the frame and who constructs it.
Context is ever expandable, hence our need to frame, but we need to be aware of the frame and who constructs it.
Context is ever expandable, hence our need to frame, but we need to be aware of the frame and who constructs it.
Context is ever expandable, hence our need to frame, but we need to be aware of the frame and who constructs it.
Possible Reading
Lines: A Breif History
Tim Ingold
Ground Control
Anna Minton
Guy Debord
The Naked City
What context frames this place?
National Institution: Commercial although free symbol of Cultural Capital
Tate: Historical links to the slave trade
Gallery: Heterotopia
from a studio in Berlin 1970
Windows out onto the world.
From a studio in New York 1950
From a studio in ...
but from an artist
trained in East Germany.
Who still draws on his
socialist realist heritage by
sketching out figurative
scenes before abstracting them.

The City
OR the world coming into the gallery
socially produced
Lefebvre -we can change it through our actions
we cant we can only subvert temporarily
De Certeau
Language Place or Space?

Place is to space 'like the word when it is spoken'
De Certeau

for Lefebvre place is practiced space.

place is a momentary destination

space is a social dynamic constantly changing manifesting itself through place. (Merrifield writing about Lefebvre)
Temporary void
Urban ruins
ruins in reverse smithson
Non- spaces
Meaningful interventions in public space.
This can take different forms.
counter-monuments -stolper steine, Jochen Gertz
community activism- Theaster Gates
graffiti -Banksey
public performances- Grand Gestures, Tino Seghal
virtual art works in the public sphere- Janet Cardiff
the darks Ruth Ewan at Tate Britain
politics of walking
Public art that makes us aware
of the layers of history in the city and of absence. That also makes
connections between art and commerce visible.
or Hidden Histories present.

Rebecca Horn
"With the outdoor installation
Spiriti di Madreperla (2002)
, she transforms Italy’s largest city square, the Piazza del Plebiscito in Naples, into a space encompassed by magnetic energy. Shimmering light rings of mother of pearl hover high above the square and exactly beneath these, set between the cobbled stones, cast-iron skulls (models of the so-called “capuzzelle” within the enormous city underground vaults) form the vertical energy within the square. Here the viewer walks through the installation and becomes part of this charged energy field in dialogue with the city."

Thanks to Barry and Liz
for their photos.
Psychogegraphy as a way of breaking down barriers between culture and every day life.
Social Construction on the Edge:
'Withness'-Thinking and Embodiment
John Shotter

Rodinsky's Room (Granta, 1999) Iain Sinclair and Rachael Lichtenstein, the book Barry mentioned after the walk.

Affect of place: memory personal associations, play a part in how we feel in certain places
exclusion from places, public, private, commercial, social.

Commercial aspect of culture
who decides what is good
and what does that have to do with money.
Ironic on the poor painters statue.
Visual Links
Doyce Street Artist Activists.
Fire the potato cannon! The Sisters of Perpetual Resistance take their art to the streets.

Signage: Safety freedom and surveilance
relationship between being controlled and feeling safe. How does this relate to the gallery, where there is a tacit agreement to behave in a certain way.
session 5
will we map differently because of the experience of the walk, the knowledge of certain works.
we can never have the same experience again. Novelty is absent, the group has changed.
Public sphere
poverty and class
historical development
Signs and street marking
methods of control the
relationship between
safety and freedom.
Debord cuts up the map
as a way of remapping
according to feeling
Mark Bradford
re-appropriates the
billboard probably advertising
unattainable lifestyles into
politically charged maps.
Privacy of home intimacy of the book
Activities that we do there we looked at the city as a gallery interpreting it curating it
Art in the public sphere

The Gallery
The Studio
What is Being? has philosophically been the main question. It is rooted in a temporal understanding of the world and logical oppositions. Mapping brings thought onto a different plane.

Trace is the non-presence of the present, 'a different kind of temporality'.
In the artists are in someway still present through their works, the places they made these works in are also in someway present.

How does that relate to what we have been talking about?
Parallels and interactions between city art works and artists Palimpsests -layers
Loops- the city inspiring art the art inspiring the city.

Dickensian Southwark: street names that he used for characters or steets named after characters.

Gordon Matta Clarke FOOD project : Architectural influence open kitchens and performative food. Making what had been private public.

Curating and our relationship to the
works we look at.
This Context:
The online digital presence which is materially physically present elsewhere.
designed to allow mapping rather than a linear progression we can zoom in on unnoticed details.

An interesting observation was made by Iain Sinclair. He noted the irony that the prisons in the Clink area may well have had treadmills as part of the prisoners' punishment. Now underneath the railway arches we still can see people pounding treadmills, but in gyms.
Monument to the Unknown Artist
comissioned by Land Securities
"Don't applaude just throw money"

and how we feel
in different places, at different times.
and the processes involved in the creation of the work and the city.
Studio in Japan
What is the gallery and the art works within it function?
Is it some kind of mediator?

In relation to us our bodies and how we feel? Rebecca Horn

In relation to the place, the city it is situated in?
Gordon Matta Clark/Mark Bradford

William Kentridge
The studio is a place where
'linear thinking is abandoned'
Homi Bhabha
Studio is a
space, akin to the heterotopia of the gallery but private.

Both speak about the agency of the sudio.
Its a bit like a pin hole camera
A lens through which the world is projected in and re mixed on the studio wall reinterpreted then projected out again into the city or the gallery.

Mythologizing of the studio.
The above text is refering to an experimental art space in teheran, but offers a way of thinking about the relationship of art works to different paces.

Arts and Aesthetics in a Globalizing World
edited by Raminder Kaur, Parul Dave-Mukherji
A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing.
Martin Heidegger 'Building, Dwelling, Thinking'

The Location of Culture
Homi K. Bhabha

Six Drawing Lessons
William Kentridge
definition of presencing
We make our own context in which we see things.
Actor Network Theory
Art works in the public sphere can also be methods of social control, monuments as bollards?
How we feel.
How we construct meaning
More on Mark Bradford
Change of Pace:

Taking gallery behaviour out on to the street.
Slowing down looking at everyday places and views
Did we carry this back into the gallery?
Slower and talked more as a group in the gallery
we have gained more ownership of the place, through spending more time and getting to know the works.
Post Paris attacks, we talked about security but did not map it.
Does increased security make us feel more or less secure.
We tried to like things that
we had previously ignored/disliked.
Final Map
: there were still areas that
we did not engage with as a group.
post digital paintings, and Rothko.
very interesting artical on what is missing from psychogeography
Salvaging Situationism: Race and Space

City A-Z: Urban Fragments

by Steve Pile (Editor), Nigel Thrift (Editor)

Tim Ingold. Discussant: tbc
What if the city were an ocean and its buildings ships? Of surface, ground and the interstitiality of things.
27th Jan '16 Birkbeck

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