Friday 26 February 2010

More on Unwalling

Source: Boiteaoutils
Baptiste Debombourg
















"In this installation series, the wall seems to come into the room, to attack the observer. The deformation of the surface is creating a tension between the solid and the void, and it blurs the limit of the the inner space envelope. The broken surface gives a very strong materiality to the traditional clean walls of the "white cube" and the pieces of wood appearing under the white coating are like scars."

More On Unwalling

Source: Boiteaoutils
Erika Hock: http://www.erikahock.de/Seiten/Earb06.html

Wednesday 24 February 2010

More On Unwalling

Source: Boiteaoutils
Posting this as the blog seems to be thematically interested in the idea of walls and their un/walling which is a nice tie-in with house theme.  However, some of these examples exist within the context of the gallery [as opposed to domestic context] and exists partly as a critique of the 'white cube' ideology.

Friday 12 February 2010

More On Matta Clark and Walls

Source: Boiteaoutils

Yeah...couldn't have said it better myself....

"By undoing a building there are many aspects of the social conditions against which I am gesturing: first, to open a state of enclosure which had been preconditioned not only by physical necessity but by the industry that profligates suburban and urban boxes as a context for insuring a passive, isolated consumer-a virtually captive audience. The fact that some of the buildings I have dealt with are in Black ghettos reinforces some of this thinking, although I would not make a total distinction between the imprisonment of the poor and the remarkably subtle self-containerization of higher socio-economic neighborhoods. The question is a reaction to an ever less viable state of privacy, private property, and isolation."

Gordon Matta Clark. Interview by Donald Wall for Arts Magazine. May 1976

As I have been observing before on boiteaoutils, a wall is at first nothing more than a line drawn on a piece of paper. This line then acquires a materiality and thus own a violence that prevents bodies a freedom of movement (the climax of this violence is obviously achieved in prisons where four walls surround the body). A wall here is not necessarily to be understood only as a vertical panel but also every kind of built surface that prevents the body from a freedom of movement (floors, walls, fences etc.) Any process of “unwallization” is therefore a resistance to this violence. It is difficult to find architecture that succeeds in applying these kinds of processes; nevertheless, several artists did work on that issue and produced various propositions in that regard. Gordon Matta Clark’s work is both the precursor and the quintessence of them, piercing, sawing, digging, rending, rotating, splitting, tearing apart, Matta Clark mistreats the wall as much as he can and the latter almost loses the totality of its violence in this way.

The wall is a separation device but not necessarily as a surface needing more energy to be penetrated than a human owns, can also be seen in the example of rows of sheets on clothes lines. The wall thus looses its violent status while conserving most of its other characteristics.

All the following pictures come from the book. Gordon Matta Clark. Phaidon 2003.

[Please note:  I have two copies of Matta-Clark's books if anyone would like to look at them - Sally]

Thursday 11 February 2010

Kowloon Walled City Animation

Source: Boiteaoutils
Here is a short animation film by Generic Life that I found interesting because it happens to take place in the Kowloon Walled City (see previous post). There are extremely few graffiti artists in Hong Kong and making them operate in the Walled City here symbolizes the free zone - and on the contrary of what the authorities were saying, apparently not so dangerous - that represented this incredible densest area in the world (50000 people were living in it).



Kowloon Walled City can obviously not be literally considered as self-constructed. However, this Hong Kong district acquired a kind of autonomy for years and could not stop densifying itself until it was demolished by Authorities in 1993 (See Ryuji Miyamoto's photographs of the empty Walled City, ready to be torn down).  The Walled City tackles an interesting problem about the connection such autonomous districts could have with legality.  In fact, there has been a strong phantasm of insecurity about it, probably encouraged by the authorities when neutral reporters Greg Girard and Ian Lambot ("City of Darkness") from where almost all remaining photographs are from) affirmed that the district was the shelter of drug addicts but not criminals.  Before it was demolished, the Walled City was the home of 50 000 inhabitants reaching an incredible density of 1 920 000 inhabitants per square kilometre.

As far as self-construction is concerned, let's quote City of Darkness:

"With lifts in just two of the City's 350 or so buildings, access to the upper floors of the 10 to 14 storey apartment blocks was nearly always by stairs, necessitating considerable climbs for those who lived near the top. This was partly alleviated by an extraordinary system of interconnecting stairways and bridges at different levels within the City which took shape -somewhat organically- during the construction boom of the 1960's and early 1970's. It was possible for example, to travel across the City from north to south without once coming down to street level."  Let's add to this description, the one of this grid placed over the district's temple (right in the center of the Walled City) on which inhabitants having their windows on the courtyards throw away their garbage, transforming the temple's environment into a shadowy underworld.

Wednesday 10 February 2010

Game Studies

Click here for online journal Game Studies with full text articles.

Saturday 6 February 2010

The Solid and The Ephemeral

This post has nothing to do with any of the lectures I have covered but more of my own emerging interest in built form and images/ideas/concepts of the ephemeral or temporality in solid, metaphysical and structural symbols.

The Museum of Modern Art describes Empire as follows:

Empire consists of a single stationary shot of the Empire State Building filmed from 8:06 p.m. to 2:42 a.m., July 25–26, 1964. The eight-hour, five-minute film, which is typically shown in a theater, lacks a traditional narrative or characters. The passage from daylight to darkness becomes the film’s narrative, while the protagonist is the iconic building that was (and is again) the tallest in New York City. Warhol lengthened Empire's running time by projecting the film at a speed of sixteen frames per second, slower than its shooting speed of twenty-four frames per second, thus making the progression to darkness almost imperceptible. Non-events such as a blinking light at the top of a neighboring building mark the passage of time. According to Warhol, the point of this film—perhaps his most famous and influential cinematic work—is to "see time go by."