Author Archives: Miruna Mazilu

so far….

aerial view

section city

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Capturing and assembling fragments of narrative in the city

A productive glimpse

 – Behind the scenes of an unproductive walk -

I have been trying to explain some ideas by writing a text which is both narrative and instruction, creating a conversation between subjective (event) and objective ( artefact) .

The format and structure of the text literally draws up the elevation fragments of the city while the content describes the metaphoric one which only exists in the mind of the operator. The later one is continuously changing and completely reliant on the individual performance while the other is permanent (it is there before, during and after the performance) imposing itself on the individual as a framework for narrative. Together they make up the understanding of what the city is, a blend of both artefact and event.

Consequently, this set of instructions construct the space of the event, the framework for the narratives described but also direct the rhythm and find their way into the content as well.

 

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Looking at ways to capture, explore and experiment

“Corner Mirror with Coral is an example of what Robert Smithson called a “non-site.” Smithson’s non-sites sit directly on the floor of the museum rather than on pedestals. ” This was a huge break from tradition, instigated by Minimalist artists. In opposition to traditional museum display, the works become part of the viewer’s space rather than taking on a separate or elevated status.”

Robert-Smithson.-Corner-Mirror-with-Coral-453x395 mirror-displacement-chesil-beach_0

robert-smithson-untitled-zig-zag-mirror_0

 

 

Dealing with fields of fragments. What could they form when they come together?

Mirage-pavilion-by-Studio-Nomad_dezeen_468_3    Mirage-pavilion-by-Studio-Nomad_dezeen_468_8  (Mirage Pavilion by Studio Nomad)

 

Dealing with inserting fragments to change the whole into something new

dezeen_Mirror-lab-by-VAV-Architects_2 dezeen_Mirror-lab-by-VAV-Architects_6 dezeen_Mirror-lab-by-VAV-Architects_11   (Mirror Lab by VAV Architects)

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The peak of the iceberg

A line drawing to follow…. do you think I should put NY in the background instead of the “island”?

hidden island

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cheesy but couldn’t help myself…

Alice in WonderlAndy Warhol….

aAV2m0L_700b

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Fragments and islands

I am working on 3 drawings.

The Warhol and Judd ‘s PANGAEAs .

Another one arguing the use of fragments and arguing why new worlds can be created by the drift of fragments. This is taking the shape of a section as it leaves room for two conversations. One revolving around the “peek of the iceberg” which can then be reinterpreted and treated as a independent unit. Another questioning the relevance and possibilities hidden in the depths. – taking inspiration from the Torso, where relevance of the history of the object and name, Hercules, is questioned.

The last drawing will talk about the role of the viewer/operator. The operator creates the connections between the fragments constructing the object or narrative.

Here you go Sabri.ISLANDJUDD ISLAND

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Update WIP

So… this is where I am at the moment with the drawing… quite behind from what I was hoping. Kept changing it..

It’s a bit late to write but I am working full time tomorrow and am afraid I won’t have time to post.

The “continents” construct the production process of fixed factory (Judd) , fleeting factory (Warhol) and The clash? factory (Miruna) .

From these, the moving archipelago takes shape through a constant conversation ( drift) between the three, as the identity isn’t contained within one form/ or state of the object/person/room/city, but is defined by the additive correlations.

I need to add all of the islands in the water. Have been alternating between drawing the models I have done ( in the recon) or photoshoping them. I have started to do both in order to decide.

Unfortunately you still need to imagine a lot of what I am saying in this drawing at the moment.

arhipelago of identities

 

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Small 20x20cm corner

imageFinaly…it was more difficult than the 1:1version. It detaches into two squares so I can carry it flat in my backpack.image

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Building the arhipelago

Collapsing different parts I have been editing in Rhino, Ill, Ph, text etc..

Trying to compose my drifting arhipelago.

workspace

workspace

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For Anouk

Regarding our conversation about mobile libraries, this was the little project I was talking about. Hah, it wasn’t only in London as I later found out. Not sure which one was first.

http://www.standard.co.uk/news/london/lewisham-phone-box-turned-in-to-londons-smallest-library-9218293.html

http://www.theguardian.com/uk/2009/nov/30/phone-box-mini-library-somerset

phoneboxlibrary

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For Sabrina

I don’t know how or if we can add photos in our comments so I posted this here for Sabrina.

I thought about her and her project when I saw Man Ray’s fragmented “Self portrait” (first photo) and  Dieter Appelt “Les mains en cage” (second photo)

thumb_149966__file thumb_150020__Max600x400

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Progress

encasing superstars

encasing superstars

Finishing text for recon

Finishing text for recon

Fixed the indesign layout conundrum and rethought the content order. Trying to focus the conversation and simplifying into steps like:

Place the object.

Capture the event.

Life span of experience vs memory of artefact.

Transform through recording.

Content table to be updated soon.  Will hopefully spend tomorrow in the workshop building the portable corner for the trip, photographing my 1 to 1 with a white background for the book.

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White book update

white book

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“From the fleeting to the fixed” coming along..

book book book…

Not sure if I’m editing to much…or not enough.

I will post an update of it this evening.

book

 

PS: probably spent a bit too much time fiddling with format… the book will be just a bit off the perfect square  (hopefully will give a questioning perception of it)

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Looking back, moving forward

Looking at the Recon I tried to be critical of the elements presented and what they bring to the table. Doing so I pulled out a set of terms to help me see what each of them does or doesn’t do.

the encasement – of the object, its image, its concept, its space

NOT the continuity – constant, lasting, durable

the Permanent – fixed, “set in stone/concrete”, unchanging, indestructible

Permanent installation conferred through an irreversible action/insertion/addition to the object which enhances its potential? Quality?

not to monumentalize {vb} (also: to eternalize, to eternize, to immortalize, to perpetuate)

The role of the monument aims to satisfy the individual and collective will to be
remembered, through the durability of the stone and metal versus the frail and perishable human body. As J.L. Sert, F. Leger and S. Giedion state in “Nine points on Monumentality: “Monuments represent human landmarks which form a link between the past and future (…) and are a means of representing the collective force and traditions, turning into symbols of the identity of a group”.

The monument today aims to not only represent beliefs of its present and pass them on, but to illustrate the relationship between the site and the memory, or event, which forms the collective memory and thus, creates a connection or impact with future generation. “Memory is naturally place-oriented or at least place-supported” Edward Case suggests. In this way, the collective memory provides continuity within a group, by “marking out a common normative horizon of expectations and experience, and creating what Assmann would later call a “connective structure” between past and present.

Adrian Forthy states, “The twentieth century has, in general, been obsessed with memory in a way that no period of history was before. Its colossal investment in museums, archives, historical study and heritage programs are the symptoms of a culture that appears terrified of forgetting”.

The astonishing interest in documenting the monument and recording memor peaks with the success of the “prosthetic memory, the personal computer”. Thus, architectural monuments, which were a vital component of European intellectual life at the end of the nineteenth century, are only marginal cultural players at the end of the twentieth; their power seems now reduced to the scope of micro-histories, and microcultures. These ultimately depict isolated representations, of particular small communities within the fabric of the city.
We can ask ourselves if there is a true need for the physical monument at present or in the
future? Inventions such as photography, film, electronics and so forth generated a new form of memorializing, which means that the very act of memorializing is changing. If in the past physical elements represented and aspired for an immortal means of passing on memory, tradition and beliefs, then at present, the digital world was began to neutralize the stone.

Verb 1. monumentalise - record or memorialize lastingly with a monument

immortalise, immortalize, memorialise, memorialize, commemorate, record - be or provide a memorial to a person or an event; “This sculpture commemorates the victims of the concentration camps”; “We memorialized the Dead”

PS: also planned out my travel corner. Need to make it now.

 

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Thesis?

Definition of permanence:

ˈpɜːmənəns

noun
noun: permanence; plural noun: permanences
  1. the state or quality of lasting or remaining unchanged indefinitely.
    “the clarity and permanence of the dyes”
    synonyms: stability, durability, persistence, permanency, fixity, fixedness,changelessness, immutability, endurance, dependability, constancy,continuance, continuity, immortality, indestructibility, perpetuity,endlessness;

    rarelastingness, everlastingness, eternalness, eternality,perdurability, perenniality, imperishability, inalterability,unchangeableness, unchangeability
Origin
late Middle English: from medieval Latin permanentia (perhaps via French), frompermanent- ‘remaining to the end’, from the verb permanere .
—————————————————————————————————————————————————————

Something about Roman Opalka clicks with me…. Both regarding factory, identity and permanence. Can’t quite put my finger on it yet.

Factory yes, considering Opalkas’ assembly line and constraints he uses to make this work of art between 1965 and 2011.

But there’s something about these boards of numbers that get born every day and stop when he dies that encase moments. Each number encases a second, encases a part of the author and materialises it. It’s a “momentary coordinate” if we can call it that. Once the board is finished, it is permanent. Permanent through the time it holds. The background colour fades a shade for each new board and the author begins to include a photo (a selfie) with each one. For me, this emphasises the permanent characteristic that the artwork holds. Things transform and change, the number is the same (white) . The number is permanent and it contains this change forever. – The final number was 5607249.

OPALKA_1965_Detail roman-opalka-oktogon-infin-art-stations-foundation-poznan-2010 Untitled-9 e0411_b

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Post recon documenting

thefactory2

can camera-photo couch sofa1

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~Update

party_blurry2

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Disturbed Warhol gathering..trying to do their thing

I should add more people and I’m trying to make them blurry to suit the background.

Should I make the sofa more blurry?

Warhol is not happy

Andy is not happy

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Giving coordinates to the photo

Soo… what do you guys think?

also…which one? –

photoshoped on the wall

real thing on the wall

real print on the wall

photoshoped on the wall

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heeeeavy

8-x12_Corner_Terrace-4 8-x12_Corner_Terrace-6

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Having some midnight fun!

The 1:1 photo of the corner in the studio, pinned up in the soft room.

The “not to be taken too seriously” version.

DSC_0042223 DSC_004222

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editing!

update

update

I’m in the process of editing it but – please comment guys :) I need to print it 1:1 and pin it up in the soft room to photograph it.

 

colt-studio_1

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Lecture hall audience

A2_Corner_Lecture-hall_1

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AA fleeting spaces … permanent corners

Also, yesterday I took more photographs of my corner and today I have been editing them and creating a layout for them for the jury.

A1_Corner_Terrace_1A1_Corner_Terrace_3

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Production mode….

Yesterday I managed to find a way to cast my photographs. As both Tris ( model workshop) and Sue ( photo studio) haven’t done this before we put our heads together and tried 3 options. Unfortunately Tris has the workshop closed until Monday so I won’t be able to see the results until then. I find the experimentation quite fun.

photo 1 photo 2 photo 3

 

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The corner photo-shoot around the AA

wireframe-room1

Apologies for the delayed post…didn’t have internet today and right now it is very slow….

I’ve been spending my weekend assembling and dissembling it around the AA, like the Bar, terrace, entrance and tried other locations which were a bit unsuccessful. Anyone has any suggestions? or can recommend a “typical ” AA room ( as Cat said – green floors and fireplace) that would a good place to photograph it?

 

– tomorrow I’m photoshoping  and casting the superstars in resin.

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The soon to be resin superstars

Edie-02-copysuperstar-01 superstar-03 superstar-05 superstar-06 Edie-01 Edie-02 Wanted to make them look like they’re floating

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phewww…..

My room corner is done! uhuu

 

560dfa07b3233b6de53b4696713b18bc  18c132d5f8f240cb780e0b67114c0af7b270a3a10fcb9777dbe1849518ad4450

as the Swedes would put it.. du kan göra något med vilja, kraft och vaselin

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Smile to the camera! let’s make you a superstar

 

IMG_3823   IMG_3828

Camera mould

Camera mould

 

 

 

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Model testing

Trying to figure out how to do the sofa

MODEL-tests

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peek a boo

photo(5)

uph…WAITING….. promise photos of the finished cast on Monday latest.

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2nd time’s a charm?

model-castsoup-can

There wont be any label. But half of the resin will (hopefully) be half red and half transparent.

We find out tomorrow if it worked.

 

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How to judd? How to juddify?

Have been feeling quite stuck, possibly over-thinking (trying to see what “it” is at the end) so thought it would be useful, in trying to clear my head, to write, to formulate my thoughts and set down the basic principles of what I am trying to do.

The Factory (Warhol’s studio) becomes a testing ground which explores the ‘syntax’ with which to understand the fabrication process, the action (or verb) and the fabricated.

THE ASSEMBLY LINE:

‘To judd’ or ‘to juddify’ are identity fabrication processes.

The process uses a collection as input which is then subjected to a series of observations (piece by piece) that generate a set of permanent coordinates which define the identity output.

TERMS :

To judd’ – to dissociate the object from illusionism and representation in order to expose its quality as a whole.

Quality of the object – characteristics that define the objects’ integrity such as – the 3 dimensions, geometry, material, location and environment.

 ‘To juddify’- devise the coordinates for the collection according to its visual requirements and the relationship of the object to the space.

–  design the permanent installation of a collection.

 

I am going to judd Warhols’ 32 Campbell’s Soup Cans and juddify his studio.Black_font_crop_from_Campbells_Soup_Cans_MOMA (1)

But I am asking myself….. what would (for example) Warhols’ couch become if I try to judd it?

Also, when moving to a larger scale, such as Soho (or the city), a new set of factors and situations come in play. How do the terms described above transform?

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Andy Warhols’ Factory has been Judd…

Following the same process as the permanent installation on Spring St. and Marfa, Judd came up with this re-arrangement of the Factory.

Have been looking at where he chooses to place large objects, small objects, furniture or hanging objects.

Photoshopped views of the interior coming up and ” construction drawing” of new layout!

juddifing-warhol

 

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Different stages of production process

drawing-process-of-JUDD4

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Chianti collection

Trying to establish Judds’ production process from artist input to typologies or collection
output.

So how much of Judd is in the Chianti? Does his identity rely on the objects being displayed? or is it defined by the process of coordinating space and object?

Roni-Horn-typology Carl-Andre-typology chamberlain-typology CLAES-OLDENBURG-typology Dan-Flavin-typology IlyaKabakov-typology Ingolfur-Aranarsson-typology John-Wesley-typology

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Fun day in Dip 9 studio

photo (3)

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DIP 9 ATLAS

photo (5) photo (7) photo (8) photo (9)

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The Specific search

photo (1)

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The Specific reactions

SohoNewsletter  7fb47d223688f60c06f74bae8c342480  1950 Ford ad

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The specific actions

components ALBERT KAHN, Ford Engineering Lab Dearborn MI y Highland Park, Ford Motor, Detroit, 1913, imagen BUCCI

andre         Chinati Camp Marfa 1923 building

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The Intuitive Specifics

Chamberlain-typology Judd's travels fordISM

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plugging in Judds’ Marfa project into the minimalist archipelago

plugging in Judds' Marfa project into the minimalist archipelago

plugging in Judds’ Marfa project into the minimalist archipelago

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