Sliding up a curve. Or what to put in an ash tray

The problem, the figure, the form, the building catch on fire, or are set on fire, or simply burn, as the season brings an updraft, a hot front, a wave of air. The curved spiralling lines and small triangles of the weather pattern mark the look of the fire, the feel of the heat. The problem, the figure, the form, the building, congeal, become mercury, become magnets, swivelling, as the small triangles on the curved spiralling lines turn blue and then silver. The problem, the figure, the form, the building flicker as the light recasts the situation, flicker as they breathe, flicker as the arrows slide up and down the spiralled curve, the triangles changing colour. The characters or the seasons are temperature, are a look, a light; the characters, the seasons are a movement, a secret, a touch and a touching. A way ward punctuation, without edges, without equilibrium.

The space is 6x10m? The drawing is not in proportion and I'm careful about where the video book could be projected, it's quite spastic as you might have noticed.
I've made some time in July and August to actually work on the sculptures. To propose (a more or less) definite floor plan is hardly thinkable. I'm afraid the sculpture might just be another testing of the surface, the imagistic and the spatial, which is not my intention.. One video might drop out during the process depending on what is emphasised in relation with the sculpture.

**********Is the dark area, a part of the wall darkened? I think this seems pretty good, I wonder if we should consider to build some kind of platform in the room somweher to break the flat parcour up a bit too, maybe part of "my scene" could be raised? Or we place a kind of catwalk in the space for your spiral ash tray? Again, as in THE BF I think we need some eye level rhythms. the curtain I have is only 280cm high, so it will have to kind of hang in the middle of the room wiht some construction or hang very high! (haha) To accomoadte that then maybe we could Imagine climbing up to another area (a platform) to enter my scene and also have a nother vantage point for viewing your pieces, i like the idea of your spiral becoming a landscape that represents everything....


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********** Sorry, I only noticed this comment now. It's good to insert comments to respond directly to something, saves time describing the thing you are referring to. If there would be a way to alert the other that a comment is added or a hyperlink structure with which you set up relationships from one text to another.

So the curtain is not going to reach to the ceiling,. that changes everything, in a good way. Perhaps we can work on a joined plan, because J. told me he wasn't sure if he was able to keep us together in one room. That would be a real pity. Is the curtain not going to reach from wall to wall, or do you mean that an elevated platform allows some tall people to look over the top edge of the curtain, or a platform that extends to an area outside the area that the curtain delineates. I agree things can be done in the space to create some eye level rythms. I don't know if the black/dark area should be a painting on the wall or some panels attached to the wall. I drew it in because it because form a certain angle the spiral could appear as suspended in the air, with a little imagination. Also I thought it would be good to break the rythm that is creates by all these doors.

In terms of leveling, at the moment I try to keep all the elements in similar proportions; objects that easily fit between my arms. For example, the monitor would show my hands leafing through the pages slightly smaller then real size. The monitor also lights the spiral, which is too big to be a model too small to be an earthwork. The awkwardness of the spiral could be amplified by the nearly real sized representation of the book.
Something like that could be happening with the speakers and another sculpture (perforated tiles) as well.

If you could make a drawing of a platform I can respond to it and maybe send this to J?

simply tiles

I'm impossible with titles

I'm rethinking the third work where I proposed to artificially incorporate both a reference to a previous Municipal exhibition and respond to the given frame work of this group exhibition. But I realise that the synthetic binding and unhinging is already present in the form of the ceramic spiral. I hope it both simulates a devising for something to emerge and anticipates a being out of date (surplus of production process), creating a hole in time. It doesn't add anything when I'm using this as a metaphor for a way of working with the given framework. I think that the proposition should have better been formulated as an observation, while the newly painted walls, the blinded windows, lowered ceilings, and false walls together hide any sense of joining or juxtaposition of planes, inside and outside. No visible plug sockets or ventilation shafts. The cloud of paint. The lighting system to create a diffused light and blurry yellow spotlights. The ambulatory walk.

The 'third' work, provisionally titled 'la Pierre' should create some air in the installation, which I imagine to be filled with a dense light and an occasional sound track, which sound something like grrrr... klabeng.
(still don't know how to embed a video)

grrr..... klabeng


book

****did you make these funny photos with the tiles and la pierre? beautiful!

museum

square cabinets, entrance
- the color of this image quite accurate

square cabinet

square, lighting system

3 possible light sources (4 including the spotlights)

beginning of right wing, view on large entrance

ambulatory parcours, side without windows

ambulatory, side with windows

likely to be our space, doors, behind which the building excavation
- I asked to leave them this way, not to paint it white like the rest of the space

entrance of the same space

entrance of the same space, the other side

the same space

The whole experience was quite dense, a thick mist and no sense of an outside. The facade that is the most prominent and visible feature of the building has no relation to the current interior.

Hope you get a better idea.

the dry bit

quicksilver flooding a model (Dutch city planning in the 70 's)

roadblocks

ceramic
\

Just sharing quickly the work I had to do for you know what. The text has a bit weird tone for that reason. Getting ready for a wedding now, but hope that I can spend more time on the blog from now on.

Invitation

The request on the one hand could be taken as an invitation to make an insertion that functions like an exception of the standard: an interruption. While on the other hand an activation of the framing could produce a self-reflexive commentary on the whole situation. This is the action where the exception actually binds. To extend this interrogation a bit further; to reflect on the exhibition that I’m simultaneously part of, would create the situation where one becomes part of his/her own image, a second appearance.

I will take this process of unhinging and binding as a departure point. Such an “in-betweenness” will on the one hand negotiate and confront standards in formats of presentation and on the other instigate terms under which an entry into another position is made possible. A position that moves beyond a state of exception.
One work, in the form of a video, will be set around the encounter with one particular documentary image: A still from a documentary about a Dutch Welfare office in the eighties. My aim with this image is to move through its primarily indexical signifying function and beyond its surface. This process introduces a personal methodology to approach documentary or archival images in general: the handling and touching of the material activates new relationships between the image, body and their immediate surroundings.
Another element which I’d like to extend and amplify, through sculpture, is the extraction and isolation of a particular motif. The motif comprises a spiraling form which is derived from the still image that also appears in the video. The spiral follows the illuminated edges and shadows of a generic type of ashtray which rests on the table where two people, respectively a social worker and a client, have a conversation. The ashtray or spiral is literally removed from this table, highlighting a potency or promising something charged. This sculpture, made of ceramics, will materialize the unhinging and binding forces I have described before.
For the third, complementary work, I want to use a particular image from the Stedelijk Museum’s archive documenting a municipal acquisition exhibition in the seventies as a starting point. (See image) One of the centrally depicted elements in this image comprises a frame that creates an atmosphere of separation and circling around. The reference to road blocks was most likely used to generate a commentary on the status and position of municipal art made public. In the context of the group show I will use this form of rectangular framing to comment and reflect on the dense installation of works of the different artists gathered in one of the wings the museum and the synthetic nature of the theme through which they are brought together. I intend to use this frame to stage a re-appearance of the means I appropriate and use to facilitate communication, but which in themselves are not contributing to a meaning per se. A display of pure means, which I will exhibit by synthetically reconstructing them, to have them appear as an effect. I imagine this effect to be non-nonsensical with moments of reinforced factual representation, as if reason suddenly hits you again.

still from video (video see link below)

http://www.divshare.com/download/11495866-d7f

Directionality

Is it the naming, that framing that makes it so hard to stop from falling,loosing, losing?

Like the seasons, where one is both in control, they have a name, and out of control, it cannot be controlled, the characters may become equally as confounding, reassert their strangeness