First…some rough thoughts.
After previews looking at my work I realised my project is critiquing the role of the presentation space within the lifespan of a project from its conception stage to its preservation stage, or after-life.
In the same line with my long panorama drawing, I want to focus my project on creating these immediate collisions, these moments of tension between artefact and event. To make a point that the attention shifted from the result of the project to the activities that are supposed to produce that result.
” The documentation of the virtual and real steps necessary to realise the project becomes the main object of artistic interest”. – The objects become scaffolding for fictions.
Today, in the same way in which one’s personal identity requires a digital counterpart in order to be noted by others, physical ar(ch)tworks are accompanied by representations of these artefacts, mediated by photographs, texts, film etc. – THEY ARE NOT DOCUMENTATION, THEY ARE PART OF THE PROJECT. – they offer the viewer different possibilities of perceiving & relating to the work AND negotiating their own position to both the object & site its located in. In a time where a great deal of our experiences of the world takes place in virtual dimensions , this position in-between reality and its representation = extremely relevant. – This is a point which I would like to materialise within my project.
I decided to make a series of drawings contained in my UCS. These drawings will be placed in different frames which will provide context for the UCS drawing. The frame thus becomes a sort of scaffolding for fictions. For now, I am thinking to place the drawing in the context of – the site / the gallery/ the studio/ the documentation/ the web .
Opalka’s distructive assembly line
In his project ( 1965 / 1 – ∞), the boards of numbers that get born every day stop when he dies. 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. 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 – a form of encasement. Things transform and change, the number is the same (white). The number is permanent and it contains this change.
Basically, I call it distructive because to maintain the perpetual activity and progression of the project, (the board moving upward as Opalka progresses with it) after one board is finished it rolls over being erased by the sponge on the top. The permanent becomes ephemeral, the event is maintained but the artefact diluted through it’s recording.
This drawing might be more awesome as an animation where the context around the UCS changes and the ” assembly line” moves…so you can see the board being finished and erased by the sponge.