Three options, which can coexist -because structures are for sissy's- to work with, speak to, have an encounter with the material of the archive (or other mild forms of activating the archive material that is not aiming for a complete didactical/informational overview).

3) Repetition; repeating or mimicking opposing points, spatial traversals, contingencies that are already present in the archive in my day to day environment. Includes: studio, storage space. (kind of complex)


(from left to right)
Digital print job-square Enschede 2o07,
A2 glossy paper grey,
A1 copy plan Social Service Enschede 1969,
perforated board,
lab stool,
MDF board grey,
tripod,
window half-opened.

View from my studio window, Hengelo, 2009.

1) The porosity of time.
Following the grid through different topologies/ time: Exhibition '1940-1945' in the basement of the Social Service, Nijmegen, 1969 - Documentation of Steven Willats displays (He still makes use of the same display strategies for his schemes and grids as he did in the 60's.) - The job-square in Enschede where the grid is applied on walls with a decorative function. - The use of the grid in my studio and Artis.


I have thousand of these images, but haven't found a way to work with Picasa albums yet, I would like to put some restriction on their public accessibility.

2) Color coding, possibly material listing (reflection, absorption) and sort of lighting (daylight, artificial), because these conditions affect the colors naturally:

• Social Service 1986 (Leiden): television tube colors; blue, green, red.
• The archive dossiers (Amsterdam); pale- brown, green, pink.
• Depository (Nijmegen): apple green, artificial light: fluorescent daylight and warmlight.
• Job-square (Enschede): orange, others use bright colors like; apple green, magenta, blue
  
• Studio (Hengelo/Maastricht): grey, white, beige (considered neutral colors)

Perhaps this is a good handhold for you (Andreas) to work with?

Sliding from improbability into reality

Oblique Violence

The images you'd posted some while ago titled: Destabilizers, made me think of a discussion that came up during the diagram cluster about the distinction between games and experiments or play and simulation. Clearly the Pendular Destabilizer tends to be more of an experiment or a simulative environment, but for example Theo's wooden block has a playful element to it. With these destabilizers in mind I'm going to think and write towards the destabilizing moment in the works and photographs that accompany this text. The distortion that took place in the reproduction of an archive image is perspectively 'corrected' in the installation with a floating cardboard which serves as a projection surface and is suspended in the same oblique angle as the angle of the camera set up during the moment of reproduction. In this process a trapezium of residual light, that is nevertheless part of the reproduction is cast on the wall/door/door frame/window. This is quite a technical and formal shift, which analyses the moment of reproduction; camera (production) and projector (presentation) can in fact be swapped and with it the original event leaks into the documentation, the original location into a new location. The installment with the floating cardboard suspended with fish wire is quite a different language that speaks of the stance towards the subject (matter). The gesture perhaps opposes the technocratic, 'impersonal' procedure of distortion and correction. It is a nostalgic act, that is elaborated on by the Malevich like shaped leaking projection light on the back wall. Talking about Nostalgia, romanticism and desire are not far off.



Does describing the work get me anywhere?

PARTICIPATION-INTERACTION-ACTIVATION
Actually the destabilizer appears more in this context: openness/passive - aggression/ active. In the dialogue with Ruth before she coined the term passive design in relation to flexible furniture. The slope, obligue angle in this relation destabilises patterns of expectation. Perhaps, if not too abstract, it (they) can destabilise expectations of the past and patterns of the future, or something.



Studying these destabilising environments a bit closer I found that the physical and visual disorientation can take place among others through the disruption of the equilibrium between floor, wall and ceiling. (Floor and dust, wall and frame, window and view.)
Shades, reflections cast on anything without making a distinction between the different dimensions, humans or objects. These shades, reflections also disturbs the density of joints or intersections that often define the transition from one dimension to another, or one space to another. When these densities of intersection are more diffusely spread in space, the space transforms; inverted, turned upside down, at odds with gravity.