Spatialities

Edited By Judith Rugg and Craig Martin

Description

Spatialities draws on a distinguished panel of artists, cultural theorists, architects, and geographers to offer a nuanced conceptual framework for understanding the ever-evolving spatial orderings that materially constitute our world. With chapters covering a wide range of topics, including the interstitial, the liminal and relational processes of deformation, and distribution and stratification as a means of spatial reflection, this volume shows space to be less a defining category and more an abstract terrain whose boundaries may be continually deconstructed and reassembled.

Sujets

• criticism
• Architecture

Informations

• Publié par: Intellect Books Ltd
• Date de parution: 01 janvier 2012
• Nombre de lectures: 0
• EAN13: 9781841506869
• Langue: English
• Poids de l'ouvrage: 9 Mo

Extrait

Spatialities The Geographies of Art and Architecture

Edited by Judith Rugg and Craig Martin

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First published in the UK in 2012 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First published in the USA in 2012 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA

Copyright © 2012 Intellect Ltd

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.

A catalogue record for this book is available from the British Library.

Cover designer: Persephone Coelho Copy-editor: Macmillan Typesetting: John Teehan

ISBN 978-1-84150-468-1 EISBN 9781841506869

Printed and bound by Hobbs, UK

Contents

Introduction Judith Rugg

PART I: TIME, LANDSCAPE AND ERODED SPACE

Chapter 1: Unfolding Time: Landscapes, Seascapes and the Aesthetics of  Transmission Susan Collins

Chapter 2: Mike Crang

Chapter 3: Tim Edensor

Timespaces in the Debris of Globalization

Materiality, Time and the City: The Multiple Temporalities of Building Stone

PART II: RELATIONAL CONFIGURATIONS

Chapter 4: Shifting Topographies: Sound and The Fragmented Orchestra Jane Grant and John Matthias

Chapter 5: Ergin Çavuolu and the Art of Betweenness Tim Cresswell

Chapter 6: Daniel Buren’s Theoretical Practice Dominic Rahtz

Chapter 7: Craig Martin

Smuggler-Objects:TheMaterialCultureofAlternativeMobilities

1

9

11

25

35

53

55

69

85

101

PART III: PROJECTED UTOPIAS

Chapter 8: T. J. Demos

The Cruel Dialectic: On the Work of Nils Norman

Chapter 9: Layla Curtis’s Traceurs : To Trace, to Draw, to Go Fast Richard Grayson

Chapter 10: Oblique Angles: Nonsuch and Nonnianus : A Conversation between  Ste Klenz, Jennifer Thatcher, Jeremy Till and Jean Wainwright

Chapter 11 Nigel Green

From the Melancholy Fragment to the Colour of Utopia: Excess and Representation in Modernist Architectural Photography

PART IV: DISRUPTED CONCEPTS OF ‘HOME’

Chapter 12: The Barbican: Living in an Airport without the Fear of Departure Judith Rugg

Chapter 13: Defining Space — Making Space and Telling Stories: Homes  Made by Amateurs Roni Brown

Chapter 14: Remains Lucy Harrison

Notes on Contributors

113

115

145

155 167

179

181

195

209

217

Introduction

Judith Rugg

is book proposes ‘spatialities’ as a conceptual environment in wic to consider geo T grapers, arcitects and cultural teorists wo explore te inter-relationsips between te increasingly evolving concept of te spatial and its relevance to contemporary practice and teory in art, arcitecture and geograpy. It brings togeter artists, perceptual and material spatial fields troug new frameworks of critical tinking. Tis book considers space not as a defining category, but as a migrating, uneven and entangled conceptual terrain ofspatîalîtywere conceptual structures are assembled and contested. Tese propose te tensions of space as bot improvised and coesive and witin wic interdisciplinary geograpies and concepts of te spatial are made and unmade witin various infrastructures of mobility. Contributors address te interstitial, te liminal and te relational as possible ways of locating positions for spatial reflection and representation as forms of encounter: transient, mobile and evolving. Te 14 capters are assembled in four parts were a porosity of ideas takes place between a range of spatial disciplines. In Part I, ‘Time, Landscape and Eroded Space,’ artist Susan Collins and geograpers Mike Crang and Tim Edensor explore te experience of place and time and its implications for te representation of landscape, arcitecture and te perception of events. Accumulations, assemblages, fleeting engagement, fluctuations and flows, issues of migration and displacement and te ‘mobility of effect’ become mecanisms for consideration and possibility to address te inerent instabilities of spatial representation. In ‘Unfolding Time: Pixel Landscapes,Seascapeand te Aestetics of Transmission,’ Susan Collinsexplores te relationsip between landscape and time, te balance of abstraction to representation and te moment of te ‘now’ in er work. InSeascape,web cameras were installed at various vantage points along te sout coast of England, framing te orizon and transmitting and arciving seascape images in real time. Eac image was constructed troug a process of continuously evolving orizontal bands were individual pixels recorded fluctuations in ligt and tidal movement. Poised between te still and te moving image, using ligt and time,Seascapeexplored te possibilities of te experience of landscape space troug coded and decoded images. In ‘Anne Tallentire’s Timespaces in te Debris of Globalisation,’ Mike Crang discusses te artist Anne Tallentire’s installation,Dîmora, in relation to issues of displacement, migrancy and globalisation. Situating te work wit Castells’ concept of ‘spaces of flows’ were place is conceived as a space in wic to frame te movement of people, e considers te implications for te representation of spatiality for contemporary artists.

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Spatialities: The Geographies of Art and Architecture

Crang proposes tatDîmoraoffers views of fragments of makesift intimate space, made abitable by minute processes of order tat suggest events wic are about to appen, rater tan documenting tose wic ave taken place. Accumulations and assemblages disclose imprints of absence and concealment: tose caugt witin te flotsam of flows of migration. Tallentire’s work can be perceived witin tis sense of fleetingness as a transient encounter offering a moment in time. Tim Edensor’s ‘Materiality, Time and te City: te multiple temporalities of building stone’ explores te relationsip between time and te city by investigating te different temporalities suggested by one of its most common material ingredients. Understandings of place are confounded by te geological time embodied in stone and by looking at multiple temporalities we can avoid te tendency to produce reified, singular, linear accounts of urban time to reveal te innumerable processes troug wic cities are connected and ceaselessly recomposed. Edensor develops an analysis of several epemeral relationsips conjured up by stone in te city of Mancester. He investigates ow te city is endlessly reproduced by its connections wit oter places and ow tese networks are resonant witin it. He explores te temporalities of te numerous agencies tat assail stone and te buildings to wic it belongs, eroding and decaying matter according to different contingencies at various rates. Edensor considers te way te past permeates into te present troug te traces of uman labour tat reside in te substance of wic buildings are made ; and were te rytms of repair and maintenance act to freeze time by arresting decay and restoring te urban material fabric.

In Part II, ‘Relational Reconfigurations,’ artists Jane Grant and Jon Mattias, geograper Tim Cresswell, art istorian Dominic Ratz and cultural teorist Craig Martin explore forms of topograpies of space suc as networks, voids and interstitial spaces, wic are constructed by te possibilities of narrative, sound and te ‘geograpies of te in-between.’ Tese are considered as part of wider intertwining processes of complexity, subject to and dependent on, varying forms of mobilities and perspectives. In ‘Sifting Topograpies: Sound andTe Fragmented Orcestra,’ Jane Grant and Jon Mattias reflect onte uge sonic installation created wit Nick Ryan and exibited from December 2008 to February 2009 at FACT, Liverpool and at 23 oter sites around te UK. Tey examine te topograpy ofTeFragmented Orcestraand its embodiment of te cortical model, wic is central to te work. A computer was ost to a network of cortical neurons connected to 23 sites via te Internet and stimulated directly by sound, sending a dislocated fragment of te sound from its site to one of 24 speakers anging from te ceiling in te gallery and to te oter 23 sites and to te installation’s website (www.tefragmentedorcestra.com). In ‘Ergin Çavuoğlu and te Art of Betweeness,’Tim Cresswell provides a geograpical engagement wit te art of Ergin Çavuoğlu, wo grew up in Bulgaria as part of a Turkis minority and now lives in London. His work, mostly in te form of video installations, as consistently sougt to represent and reproduce te feeling of spaces ‘in-between,’ evoking

4

Introduction

a mysterious entanglement of place and mobility tat asks us to confront te ways in wic tey make and undo eac oter. Airport terminals, borders, sips at sea, towns cloaked in fog and anonymous spaces of te city feature in is work, as do tings tat travel, suc as books or containers. Çavuoğlu’s art is an art of liminality tat asks questions about ow we make places in te space of flows and ow tese spaces are enmesed. In ‘Daniel Buren’s Teoretical Practice,’ Dominic Ratzexplores Buren’s work in te years around 1968, examining relationsips among te artist’s 1970 text ‘Beware!’, te impersonality of is work and te nature of its political caracter. Questions concerning relationsips between art and action took on particular importance in 1968 during a period of, on te one and, Ratz argues, te impulse to act politically and on te oter, by te need to separate art from action. Te negation of form and impersonality in Buren’s patterns of stripes and its siting across 100 street locations in Paris, questioned bot its own appearance and its disappearance as ‘object’, producing new spaces of separateness and political possibility. Witin te rubric of contemporary mobility teory tere exist varying assemblages of order and disorder, coesion and non-coesion and in ‘Smuggler-Objects: Te Material Culture of Alternative Mobilities’ Craig Martin considers te appreciation of suc competing forces, wic tend towards a relational conception of time and space. Parasitic cains of connection operate witin te geograpies of contemporary capitalism wose flows of commodities, people and information are premised on te concerted attempt to filter out unwanted ‘interferences’ in its logic. Acts of drug smuggling utilise tese commodity cains as a means to parasite validated mobilities. Tis is seen in te figure of te uman drug mule and in te form of smuggler objects were smuggling exploits qualities of commodity culture. Suc objects are dependent on te relationsip between visibility and invisibility in movements of commodity distribution and adapt ‘innocent’ artefacts suc as toys. Te tangled forces of drug smuggling operating witin tese legitimated mobilities are reliant on a form of parasitism were te infrastructure of sanctioned movement is infiltrated and utilised as a form of motive force.

Arcitectural potograpy can be a mecanism for te unfolding of urban place, wic bot asserts and contests belief in its own capacity to represent an imagined urban future. In Part III, ‘Projected Utopias,’ art teorist T. J. Demos, artists Layla Curtis and Steffi Klenz and potograper Nigel Green consider ow potograpic images of arcitecture can represent te city as a perpetual fantasised utopia. Tey discuss ow order, idealisation and commodified space are values tat are embedded witin te arcitectural potograp and wic make urban space readable and bound witin limited terms. Tey propose an alternative, anti-aestetic of potograpic urban space as paradoxical, uncertain, fragmented and melancolic. Tracking, tracing and various ways of considering appreensions of experiential spaces are explored as metodological approaces in teir various investigations of te city.

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