red on blue, white on blue

installation with silver paper

I understand now how the first image you posted today was done. A red transparent slide projected on a mirror, on the wall or straight on the wall out of focus. I have to try and see what that looks like on blue, maybe you have a picture of that as well. If we'd use a light tube would it be a normal warm (sun) light or a red light bulb/red light tube. I guess using aluminum is the only way to make it look really smooth and glossy, but a bit more complex to produce in Glasgow perhaps. (If you mix bulb-light with a certain grey you sometimes get beige. I guess if you mix normal/yellowish tube light on dark blue it appears as white) I like beige for the table top too, but it is a difficult color for acrylic. I have a lot of samples in my studio, only one is beige, but it's opaque, not transparent, anyway that doesn't have to be a problem. (This particular color is usually not in stock and not all suppliers have it in their collection) I think, we should have a spare color in case beige is too difficult to get. We could ask if Transmission has a slide projector that we can try out things with, what series it is, if we put a timer on it (I have these d.i.y. timers) It is very difficult to decide already, I mean perhaps a nice flickering can happen between the intervals in the video and the slide projector. If we'd use a normal light tube it could also reflect on the mint green (Luxaflex) glossy panel. I don't know what the exhibition space looks light but maybe they have tube lights that we can lower and direct. But I agree that a slide projector might be a bit too much, it blurs the relationship with the table and the video. Spotlight seems more at hand in this scenario, but maybe it is nice have a tension between theatrical (blue panel) and functional/institutional (light tube). Though in this set up it has already lost a lot of the theatrical/magical atmosphere that is present in the slide projector-glossy surface picture.

objects-indexical-frustration-light-proximity

I intended to respond earlier to that wonderful combination of words: objects - indexical - frustration - light conditions - proximity. Now that we are more or less aligned, I thought I'd write you my initial thoughts. Three different angles that are interconnected, but a little bit too much hard work to explain how and so I just sum them up.
- Holding ones head down in reading position, staring at a fixed object, arresting time. Loosing sight of both its exposing and concealing properties. Considering it a whole as and as complete ideally, not approximate in any way. Avoiding frustration of the impossibility of exactness. As an example of such object, I took the archive, which in correlation to fixed object one could address as the saturated archive (with rarefied documents). This is a rather cryptic description and perhaps it's better when I post an additional image:

collage: Cut out elements printed on different colored papers, each cut out piece of photograph matches more or less the color of the paper printed on, glued together to form one image again. Part of the floor (except reflection/shadow cardboard) and two pieces of duck-tape are cut out from silver paper.
I think the silver part could be interesting in giving form to congealing- congealing of a metaphor. (literally transfer reflective and amorphous qualities of shadow and reflection onto a shape.) Could be a paper collage or a surface in the gallery space.

- I was also reminded of a sentence in S. Sonntags text (the aesthetics of silence), when I interpret it freely, she said something like that religion creates a vocabulary or language that charts the disaffection with the existent language. In a way this vocabularies can be seen as an attempt for absolute or 'abstract' language. In relation to your sentence 'objects are indexical of frustration', this disaffection is affiliated with frustration or exhaustion. -In short could it be interesting to see the use of abstract language (in my work if the question is too general otherwise) in the light of outworn use of (historical) references? More specifically, is the abstract thought process which takes form in the approach to the material and inhabits the (art)work, a way of deviating attention from the fixed, rarefied and saturated reference/archival image, to create an ostensible relation with its surrounding?

- M.Blanchot- The last man (although it completely escapes any attempt to make sense)

When she talked to me like this—and in the beginning, it was rare, but later much more frequent, because of my obstinacy and what seemed to be a need that forced me to turn her thoughts on him in a way that was
almost implacable and made her suffer, made her say: “Don’t ask me any more questions; at least, not now; let me get my strength back”—I experienced the disturbance I have already mentioned, a sort of exhilaration, of mysterious gratitude, almost of drunkenness, but also a wound: not from the fact that I had to share her interest—that was fair, she wasn’t frustrating me at all—but that, because of him, I was entering into a relationship with her that was almost too large, a relationship in which I was afraid of losing her, of losing myself, one I was aware of as an infinite distance separating me not only from her, but from myself, and giving me the impression of distancing us from each other at the same time as it brought us together, allowed us to be together as though through times that were richer, more diverse, but also more uncertain, a labyrinth of time where, if I could have turned around, I would have sensed that another woman was already separating me from her, and from me another man, a disjuncture that perhaps only wanted to scatter us joyously into the sphere of happy immensity, but that I tried to hold back because of a feeling of doubt. For this reason I redoubled my thinking and watching. I don’t mean I watched her; rather, I followed her, I tried to understand the things she did, understand where we were going together, this way, and whether we were already two shadows for each other, joined in the intimacy of the shadow that can no longer be divided by forgetfulness.

Failed scientist

 I found this image in 2006 when I googled search images under 'failed scientist'. I used this image alot in various assemblage and also poster works. Lets think more about the moment to face on another.

Proposal

My proposition is more or less analogous with yours.

In this diagram I suggest we put the brocoli (the host for a sound piece via headphones) to placed on a projector stand and below that an additional elmement- a 35 mm slide of the colour red projected onto a hi-gloss surface (either coated alumninum or hi-gloss painted wood). 

I can imagine this could be too much- but I wondered about our interest in dialouging with a surrounding and dissolving- I wondered if it could be a good idea to add  the element of light.

But as you will see this is perhaps too much- then I would suggest to use a light tube and suspend it from the ceiling to hang just above the mirrored shelf with the brocoli on it..

I suggest to use a shade of beige for the table top instead of orange. I'm interested if it would be possble for us to use beige and a mint green! Both such institutional colours.

I very much like the idea of making a small collage- could be something like the image I posted earlier- or your amazing image of the blurred couple speaking?

I think we have to remember that the text piece adn the video are both very powerful works so perhaps I already know that the slide projector is too much....but would then really go for a tube suspended near to the brocoli..

Deception

Thayer and his colouration experiments, investigated both colour and pattern making in order to dissolve into surrouding.

Abbott Thayer, 'Monochrome Soilder Exposed, Concealed-Disruptively Patterned Native Woman Concealed', date unknown

Abott Thayer, 'Stencilled Installations as Windows into Nature', date unkonwn

---RK

Did you know that 'presentational acting' is a term they use in theatre?
I was thinking about your proposal and especially the leaning panel. I think the broccoli-mirror and the video-table-perspex combi is really good. Thinking about the panel the possible form it could have in relation to the other works, I would suggest some kind mimicry or camouflage piece. For example I started to
consider the use of the grid as a strategy that is both expansive and diagrammatic in use. A method to explain/organise thoughts or an articulation of a subject-world-intertwinement, but also a wish dissolve or disappear, a kind of camouflage. Perhaps this is bull shit, and I just feel caught in a grid, or trapped in architecture and am in want of something more natural or fluid, like flickering light, reflections and water. I guess the A4 paper with the grid and the wave-shape somehow reflects this approach/stance. It good be something else, but then you know what kind of track I'm on.


RK---

----RB

Ive made some drawings but left my camera at home so will send them through tomorrow, it's almost exactly the same as yours, but different use of colour!

Amzing, I just read a wonaderful essay about early cammoflouge and deception in animals in Cabinet Magazine..also had been thinking about the congealing/dissolving thing both in terms of the Rietveld Schröder huis, but also realting to the new piece I will make relating to the disappearance of Agatha Christie....

escape, visible, secret

The Crucial Moment of Deception Hanna Rose Shell
Abbott Handerson Thayer’s law of protective coloration

http://en.wikipedia.org/wiki/Abbott_Handerson_Thayer

there are examples of work by Thayer that are incredible!!!Including a 'tree man' 'rock man; If I can figure it out I'll scan it for you and email it through. tomorrow

I'm goign home now, it's too hot in here and I want to be outside so I send more tomrrow, but basically I think we are totally in agreence, I will make my colour suggestions and slightly different surfaces....and lets think more about a kind of image/collage- I think this would be a good addition!

More tomorrow
RB-----

-----RK

Love it, beautiful pictures and I'm curious to see more. Suddenly I realise why I started to work with inverted archival photographs, but never did anything with it, because inversion didn't give me the desired effect, it should have been more like the model duck with countershading.


Or another proposal with two people sitting across a table; the work folding in on itself.
The striped sweater is a pretty nice example of disruptive camouflage. You also have a girl reading with a striped shirt in your image archive somewhere...

.

I really got hooked up with designing special outfits for a performance or maybe a staged situation.
When I made this drawing I was imagining you reading or speaking the 'built a wall or be a room'-text to me and this time I would be able to look you in the eyes. But I'm sure I can come up with something better, just a beginning.
RK----

recent skye discussion- dissolve the grid

                                              Rachel Koolen

23/06/2009 13:57

hey Ruth I'm on line

Ruth Buchanan

23/06/2009 13:57

hi dear

23/06/2009 13:57

 

7 minutes, just need to arrange something with jo hardy...

Rachel Koolen

23/06/2009 13:58

good, talk to you later

Ruth Buchanan

23/06/2009 13:58

talk soon...

Rachel Koolen

23/06/2009 14:05

Well, 'll just start anyway, I like a slow beginning. It's possible I stay slow throughout conversation, have to go through my tax papers this afternoon.

23/06/2009 14:05

 

I liked your short proposal in yesterday's email----

 I think we should totally propose something like this as a host strucutre, a table+shelf+display wall/leaning wall- combi of images a sound piece and video, simple strong statements. In London we got these kind of Ikea tables specified by using various table tops- perspex, lino and mirror, I think a coloured perspex one would be great- perhaps wiht monitor underneath on the floor a small shelf above with a sound piece coming out of a brocoli and another perspex leaning against the wall with coated metal or wood...??

23/06/2009 14:08

 

I can imagine how a table covered with colored acrylic and Video Class-video underneath it could work out really well. In that same line of thought the broccoli that is speaking on a mirror-shelf.

23/06/2009 14:10

 

They both are clear statements in the way you can easily describe and name there positions, almost like a caricature.

23/06/2009 14:12

 

Since I've been working with this table arrangement and describing the ink-jet prints as saturated and congealed, I would place these two before-mentioned suggestions within that category as well.

23/06/2009 14:17

 

Then the next question would be how they would enter into a dialogue with their surroundings. I'm looking for things that are less clearly outlined, I think. Perhaps as you would say: tilted - seeping - flickering - blurred edges/ light astray/ periphery - shadows - movement - touch - billowing.

23/06/2009 14:30

 

I'm wondering if Jens gets these messages as well once I've added him to my chat list. Don't think so, because there's always just one person selected.

Ruth Buchanan

23/06/2009 14:30

Hi R

23/06/2009 14:30

 

i'm not usre if Jens gets this as well?

23/06/2009 14:30

 

I think we can forward it to him?

23/06/2009 14:31

 

i think we can't add him since he has the black moon next to his name...!

Rachel Koolen

23/06/2009 14:32

I accepted him as my contact, no what. Oh, that could be the 'problem'

Ruth Buchanan

23/06/2009 14:32

i have hm as a contact now, but when i ask to add him to my chat it doesn't let me...but shall we call?

23/06/2009 14:33

 

or maybe typing is easier?

Rachel Koolen

23/06/2009 14:33

no. let's wait and chat a little bit more before..

23/06/2009 14:34

 

Did many peoples form JvE join the tour? staff, advising, researchers?

Ruth Buchanan

23/06/2009 14:34

I think the basic proposition of a surface that is both reflective and absorbing and also open (with nothing on it) implicates the surrounding space in that way, in that it is sucked and warped

23/06/2009 14:35

 

this implicating the surrounding space could also be exagerrated by placing surfaces like that around the space

23/06/2009 14:35

 

either tilting or leaning, or much more dramatic coul be to use the mirror trick that I have done from time to time,

23/06/2009 14:35

 

this could be a very elegant combinatino

Rachel Koolen

23/06/2009 14:35

Yes, but the relation is not specific, as it would be when you lay images out on a table.

Ruth Buchanan

23/06/2009 14:36

table with acrylic, video monitor underneath, mirror shelf with brocoli and mirrored tilt else where

23/06/2009 14:37

 

so you would say tha tputtng images on top of the coloured perspex surface implicates the surrounding space more?

23/06/2009 14:37

 

or more specifically?

Rachel Koolen

23/06/2009 14:38

No, it's just an example, a bit like you described in your tour, when putting images on a tabletop

Ruth Buchanan

23/06/2009 14:38

in this case I'm not sure- since by placing this surface above/below/between a voice and an acting body seems to me a force of implication- it becomes a structure that unites these two gestures (though colour and a a nod to archiecture) and then strteches out

23/06/2009 14:39

 

i think both those works- the video class and build a wall speak to and address there surrounding anyway

23/06/2009 14:39

 

...?

23/06/2009 14:43

 

Or we coudl suggest that we both come for 2 days or so with a bunch of materia and just stand around organising it on the table??

Rachel Koolen

23/06/2009 14:45

Yes I see how they could work together quite specifically. But with images, as an example from experience, there's a relation where 1 cm to the side or up matters. But I don't know, perhaps I need to see a gap, an undermining of these clear statements, more fragmentation. No, I don't think images are the solution necessarily

Ruth Buchanan

23/06/2009 14:46

im just wondering in the context of a group show it might not be better to work with rather strong statements that create a flickering

23/06/2009 14:46

 

both pieces, in combi with a perspex surface and maybe mirror do that

23/06/2009 14:47

 

strong statments but that rely on the shifting of light and proxmity to address the viewer?

Rachel Koolen

23/06/2009 14:48

Perhaps, but there are not so many modes of viewing or approaching the work e.g. mode of reading.

Ruth Buchanan

23/06/2009 14:49

what do you mean?

Rachel Koolen

23/06/2009 14:49

Close-up, absorption versus something else outside

Ruth Buchanan

23/06/2009 14:50

hey do you get this message from jens?

Rachel Koolen

23/06/2009 14:50

no,

23/06/2009 14:56

 

hi ruth

23/06/2009 14:56

 

are you there

Ruth Buchanan

23/06/2009 15:00

toilet

23/06/2009 15:00

 

im back now

The way colour distorts and opens and closes space