Transformation versus Juxtaposition, Identification versus Standardization

This is an impossible attempt to set up a relation between the archive, working with the materials (process) and its representation. Integrating the different time levels, but at the same time undermining the idea of retrospection from the standpoint of the here and now. On the one hand and not visible in the images attached yet:

History / process / standstill (fix) / frame.

On the other hand and here I made an attempt to visualize it with the materials at hand:

Present / afterimage (color filter) / temporal / standardization (sequence, A4) / transparent

The main motivation behind making this disfunctional structure is to allow myself to make a selection of the vast array of accumulated images connected to this project, but also to create a framework which makes it possible to discuss and negotiate these decisions, by this I mean the structure as well as the selection process.

Addition to latest post

Angled diplay and print in the vicinity

neutral |ˈn(y)oōtrəl|
adjective
1 not helping or supporting either of two opposing sides, esp. countries at war; impartial : during the Second World War Portugal was neutral.
2 having no strongly marked or positive characteristics or features : the tone was neutral, devoid of sentiment | a fairly neutral background will make any small splash of color stand out.

A neutral background pale, light; beige, cream, taupe, oatmeal, ecru, buff, fawn, gray; colorless, uncolored, achromatic; indeterminate, insipid, nondescript, dull, drab. antonym bright, colorful.

Neutral: splash of grey paint, desk lamp yellow light, beige office table.

Part of the work The arrangements of sorts:
implying different strategies for the organisation of information. (see floating plan below)

Some time ago I made a copy of an essay from a book available in JVE library. The essay Documents and Engagement (?) is written by Dirk Lauwaerts and I think the book is called Attitudes and Positions in Photography. It explains my intuitive attraction to bureacratic documents as a self relativating counter force when I commenced to work with the social support structure.

Floating Oblique Plan

A layout of the space in Artis, a similar type of drawing could be used as description for the works during the exhibition.

The rectangular shapes in the space are angled panels from color coated aluminum or opaque perspex, or some other glossy, sharp edged material. The idea is that they are supported by construction elements in the building, such as corners between floor and wall, intersections between two walls or between a column and the floor. The panels reflect or double this intersection that also keeps it in an angled position. The design is a bit derived from the display elements that you designed for the exhibition in Haus der Kulturen der Welt. What I liked from the photos documenting that exhibition which are posted on this blog; are the narrow, useless spaces generated at the back side of these displays. The residual spaces work really well in contrast with the open display surfaces. I would alter the design a bit in the context of Artis, besides making literaly use of the building as a support structure. By choosing a more 'finnished' material like aluminium the panels slice through and end abruptly in the space. Which could be a quality that can perform in relation to its flexible, temporal and repetitive qualities. I am really curious how the images on display are correlating with the displays themselves. I can't really tell from the documentation I've seen so far. In this case -and I still didn't select any particular images or objects for display, but perhaps designing a display in the first place would help- I wouldn't limit myself to the surface of the panels as a display area, anywhere near would be good and sometimes even better. Then I think they can perform both the function of presentation and representation simultaneously. A little bit like some of the photos I've posted before, e.g. with the angled grey board and the print of the shelves put up on the wall of my studio. A support that allows the conditions for multiplicity to occur. Maybe this kind of display is the next step after disorientation set in motion by the angled plane towards disintegration. Below a quote from Falke, more of this text: http://www.smba.nl/en/exhibitions/object-the-undeniable-success-o/

It is the setting of the supporting structure, which first enables the object
to go from an invisible to a visible realm; which subsequently provides the
conditions for its reception as a consistent and solid unit, and which will finally
instigate the disintegration of the object.
The resulting support does not only subscribe to the formal aspects of the
object, but also addresses its qualities and conditions of expression as well
as the potential of its meaning.

She continues...

The structure to which the spectator becomes receptive, is not bound to any
field of relationships, but traverses all different domains.
His relationship towards the object makes place for a multitude of different
relationships towards its attributes, qualities, features, disparate elements –
and the structures that support them.

Sketch for display works VPRO and Videoclass.
Loosely based on Bruce Nauman's Corridor or Tunnel works, I'm not sure which one I've seen in the Stedelijk many years ago. While I was looking for a title and description of his video installation I came accross a text describing some kind 'withdrawel from the subject position' phase, I've gone through that phase as well (photos hallway JVE). Working with these corridor spaces but also triangular spaces and bright light, he was very much interested in conditions that create a sense of physical disorientation.