7.9.09

New Artists Show 2009 / Artspace, Auckland

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News travels faster in a room with no walls

A group show curated by Sarah Rose and I for the New Artists Show 2009, on behalf of Newcall Gallery.

Liz Allan, Clara Chon, Patrick Lundberg, Louise Menzies, Joshua Petherick, Layla Rudneva-Mackay, and a collaborative work by
Sarah and I... pics to come

Link to Artspace

21.5.09

& writing by Matt Crookes on In & Outsides

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Sonya Lacey
In & Outsides



In one of Jorge Luis Borges' short stories, a prisoner condemned to death prays to God for one more year to put his thoughts into order. The following day, he is led out to the execution site, tied to the post, and as the firing squad raise their rifles, they slow down and appear to freeze – the prisoner has been granted his year, in the final moment before his execution...

Perception of time is subjective. Time and space, after all, do not belong to us; we surf them, as it were. When we measure clock time we are talking of arbitrary points on an artificial scale. How can you ever waste my time, if it was never mine to begin with? The British artist John Latham formulated an elaborate theory around 'event structure'; he believed this could be mapped by what he refered to as 'flat time' (a graduated scale of possible events), and that the basis for the universe was the 'least event' (the smallest possible movement from a state of nothing) rather than the molecule. Are we again being asked in this case to reflect on what constitutes an 'event'? Not a sudden, dramatic explosion necessarily, but a geological timescale, the current physical state being just one more permutation in the process.

The phrase 'in and outsides' brings to mind a Klein bottle, a geometric form with only one surface, a three dimensional development of the Moebius strip. Is the title pointing out the meaninglessness of such terms as 'in' and 'out', if we break things down to an atomic level, one in which everything is composed of the electrical forces and resistances among molecules? If that is the case, this show could be seen as an attempt to pinpoint a moment of transition. Lacey insists that in these works she is not privileging either the process or the outcome. Her most introspective works to date, the interest now is in the transition. The emphasis here is as much on the phenomenon of time and space itself, as in its manifestations.

Robert Smithson was another who worked with epic scales of time. He was particularly interested in capturing the elusive point at which the past and the future meet. Smithson is perhaps responsible for the specialised use of the term 'entropy' in the way that artists now use it; as a slow decay or dissipation of energy, and more recently (within art criticism at least), by extension a more psychological state of
progressive ennui – a great investment of energy and effort, with ever diminishing, unstable returns. There is no guarantee, as we now know, that any investment will deliver on its promise. And in physics 'entropy' can also refer to the unused potential energy in a system, expressed in randomness and chaos.


Matthew Crookes 2009

Also see newcallgallery.org.nz

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In & Outsides | Newcall Gallery | 10.03.09

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BEND (STUDY)




BEND (STUDY)




MAQUETTE




EARPLUGS (SKIES FROM 20.02.09)




DRAWING FOR SCULPTURE (CLOUD)




DRAWING FOR SCULPTURE (WALL 3)




INSTALLATION




INSTALLATION




INSTALLATION

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9.11.08

Documentation from Window

From What Position Do You Speak And In The Name Of What Or Whom?
16 October -- 14 November



Installation view




Confer, Still projection / architectural intervention




Ball, Paper & water




Ball, Installation view




Poster, After You, A3 Poster with Cherie Lacey

20.10.08

SPEAKS TRANSPARENT STATE

Sarah Rose, 16 October 2008
For From What Position Do You Speak... at Window

Catching a train I find myself using a rapid transportation system, preschool has become Early Childhood Development and we don’t die, we pass away. Telling the truth is now about making matters transparent. Complex synonyms and jargon have replaced simple language obscuring original definitions. I looked for the meaning for the word “transparency”, derived from trans meaning “to move through or across” and –parency comes from the word parere meaning “to see or appear”. I often fall back to what the dictionary can offer me -the authoritative opinion. Meanings listed are always in reference to a material condition, the passing of light and its exposition of the truth. I experience the word, as a catchword. I think of it in relation to the sensory process of looking, usually motivated by some sort of intellectual imperative. For instance, in optics transparency refers to a material that transmits light so we can see through it. In philosophy, it refers to the ability of the mind to pass through a concept so that its hidden essence is perceptible; in sociology, to a pluralistic discourse and in politics, it is linked to an open and accessible government. All around me, architecture has become ethereal, weightless, and, made of glass. Postwar German parliamentary architecture first used glass as an analogy: to build translucently, is to build democratically. This has become a modern architectural trope. Transparency is an essential part of our built environment. The word transparency has infiltrated many areas of contemporary everyday life – an empty signifier, where all that it seeks to disclose is transparently concealed.

Glass creates spaces that are open and accessible. The ‘see-through-ness’ creates the illusion of uninterrupted and continuous space. Glass frees architecture from a finite reality producing a sense of weightlessness. This feeling of weightlessness, allows us the space to move forward in time, as we do not feel we are closed in. Nor is anything closed out, as the space can be viewed, everything is to be seen, and everything is made accountable. The structure is always informed and defined by the world in flux. The transient space is not rooted in matter - heavy and passive ‘stuff’. We cannot chain down the definition of the space as the qualities are always changing. Glass walls frame people momentarily as they walk by. They hold groups of people as they stop and chat. I always wonder what they are doing, what they are saying and why they are there. Glass architecture hard to define, as it is always changing, moving, by the presence of people.

In building anonymously, without a subject, the reading of a space or a word is open. It empowers the individual, as they have the option to assert themselves as the subject and experience things concretely, to create their own definitions. Walking out of a public building recently I noticed the word “Thank you” printed on the top of a suggestion box. This phrase implies a compressed conversation along the lines of “did you enjoy this space?”- “yes”, “do you support us?”- “yes”, “maybe” or “no”, assuming you have a response, “please put your suggestion in the slot” “okay” followed finally by “thank you”. Language that has an absent subject, is concrete, physical and opaque. This language is instrumental to communicating to a public. The proposition that is presented to me is one of an answer, self-contained and non-negotiable.

Is it really impossible to be autonomous from anything? To actually be anonymous? To truthfully be weightless? But does the subject ever disappear? Perhaps not? Does everything constructed always have a subject? Both the words “Thank you” and walls made of glass are attached to a purpose built space. Indeed gravity brings us right back to the ground, right back to the position we were standing. Transparency can never be stated. The very insistence of it means that you have already known what you wanted to create, to create a position, a definition, and to expect a response to what I have just said. Transparency is not lightness. Transparency is weight.

The subject may not be obvious, it might be discrete or withheld so that a distance is created between the subject and the material, to allow for another subject to engage with it. This discreteness is an important catalyst for an encounter, to create presence. Through presence we are encouraged to break barriers and move through walls. Presence is power. Presence reveals all that is constructed. Presence is what is transparently concealed. Presence is at the mercy of encounters. We would otherwise always be creating presence in the dimension of the imagination. We virtualise, we don’t move, we actualise, we move. There is no stable point when I am fully stopped. Power is self-actual. Presence is always physical, we may not be able to see it, but it is always felt.

Tell you what, I am standing on the other side of the street, and you are inside a building- its walls are made of glass. You will catch my attention to the building itself. I will move towards you. In seeing you, I am made aware of the space and what you are reacting to. While we are on either sides of the glass, however, there is only so much one can say. We cannot hear each other. There is still a physical boundary between us, one that needs to be penetrated in order to experience the presence of what you are saying. We are, otherwise, always creating presence in the dimension of the imagination. We are brought together physically in the same space. To communicate, we need be able to understand transparency. To see through to what we conceal, rather than what we reveal to each other contributes to words forming a definition that has presence, in the moment. The tone of what you are saying places stress and intensifies certain parts of the speech. In turn I will respond not only to what you are saying but also to how it is said.

17.10.08

After You

Poster text



After You

To begin, let me confide in you. There is here, already, a relation between myself and someone else. To whom am I speaking when I address ‘you’, the you of the heading (‘heading’, in the sense also of where one might be heading, moving towards or crossing a space: where are you heading?), and in the way that this is phrased as a direct response, a straightforward address to another. The title poses a question. From what position do you speak and in the name of what or whom? Every question, it has been said, pre-empts a desired response. When I ask you a question, so this idea goes, it is not out of the desire to learn something new, but because I would like a certain answer returned to me, not from within myself, but from the speech of another. I want to hear the other person say it back to me. But, already, you can see where this is heading: this other person can never return to me what I am looking for, the answer already contained in my question. And this is one of the problems of communication.

To this particular question, how can I respond, and in a responsible way, to the one who asks it, and in the presence of the other. This made me think about the connection between response and responsibility, both clearly derived from the same linguistic root (in Old French, from responder: ‘to answer’, which itself comes from the Latin, respondere: ‘to pledge’). The two actions seem bound, ethically, to the notion of care or consideration of the other. They both move towards (heading in the direction of) the other, in the sense of crossing a space, of filling a silence, of acting out of consideration. Maybe, then, in my response, you are already there, I am responding not to the question, but to you. When I give you my answer, I cannot break this historic and linguistic link between giving you a response, and taking responsibility for how you might, in turn, react.

I like the way these words are also connected with this other one: pledge. I make a promise to you to act in a certain way, a surety of myself for you, the other. And also, a token of love, a promise of loyalty. In this way, my words, how I provide you with an answer, are also a sign of love, as a gift from myself to you. This raises another question since, for some time, we have known that when we give something to another, we ourselves gain something. This is in the sense of sacrifice, to obtain satisfaction not from possessing something, but the greater satisfaction of seeing someone else have it. Here, contained in the notion of pledge, as it is with a gift, there is a dimension of anticipation: like the way one pledges a donation to a charity, this word contains a reference to the future, to a future action. I will give you something more, but for now, take this small token as a promise. Or, I give you a gift, with the unspoken expectation that, at some point in the future, I will receive something in return.

In thinking of response in terms of the pledge or the gift, what might be exchanged? It might not be thought of so much in terms of information, but rather in the order of acknowledgement, recognition of the other person, as they also recognise me as one like themselves. To fill an awkward silence. To make small talk. Words that appear emptied of meaning, which seem as if they don’t carry much weight. But they carry one across the space that separate us.

Again, it is moving towards something, attempting to traverse the gap between now and the future, and also, between myself and another, with the promise of a thing returned. The response as an offering, and in some sense an obligation – that which is designed to bridge the space between the one and the other.

Architects use the word ‘response’ to describe a pillar that supports a building. To what we have already said, then, we can add this notion of support. A response should provide support to a structure, without which it would collapse. To keep hold of this notion of architecture for a moment longer, in a linguistic structure (can we still call it that?), the response lends support, or strength, to communication. Levinas described death, the death that we meet in the face of the other, as a state of non-response, to be without-response. Between myself and the other: to respond to you, in a responsible way, is to give you my support, to keep upright (and alive) that which links me to you. (And you start to wonder, how to traverse the space in those moments that we find ourselves lacking the words…).

You posed a question, called out for a response. In this act of calling out, of reaching towards an other, there is a responsibility to act, an obligation to return something to you, to be entrusted with a reply, to show oneself, to express oneself, to return to you something that you, in the past, have given to me.


Cherie Lacey. October 1, 2008.

From What Position Do You Speak?




http://window.auckland.ac.nz/

From What Position Do You Speak?
This is an online work that is part of the exhibition at Window, further documentation coming soon...