The flatbed process – started with fluid bed series in May.
A kind of intermedial testbed for ideas also leading to final work.
Extend to include a kind of inclusive drawing process where a horizontal strip of paper is used as a substrate – leading to a book, poster, film, score.
Camera on a gantry (rostrum style) can be used to photograph areas of the strip, print on inkjet and then reincorporate into strip. Layered or 3D (model). Link to architectural models.
Camera could also be mounted on a motorised stage hung from gantry for shooting video and stop motion , animation.
Materials – laser cut birch ply, paper, rice paper, bamboo paper, acrylic etc.
Thinking about the links between the working processes of Mark Bradford, Julie Mehretu and Roni Horn (drawings).
– Erasure, cutting, subtraction, layers, the negative
Photogram equivalents of the above.
Analog – digital
Spectropolitics – the spectral turn. Link to the minor
Shows how the more spatial concept of atmosphere can be related to time via concepts of spectrality and trace.
Documents of Utopia : The Politics of Experimental Documentary
Series: Nonfictions: Publisher: London : Columbia University Press, 2015.Description: 1 online resource (193 pages).ISBN: 9780231850773.
Table of Contents — Acknowledgments — Introduction. Nostalgia: Pathological and Critical — 1. Ruins of Utopia — 2. Reinventing Propaganda Films — 3. Archives of Commodities — 4. Digital Utopia in the Post-Internet Age — Epilogue: Utopia Now — Bibliography — Index
Summary: This timely volume discusses the experimental documentary projects of some of the most significant artists in today’s global art world: Hito Steyerl, Joachim Koester, Tacita Dean, Matthew Buckingham, Zoe Leonard, Jean-Luc Moulène, Ilya and Emilia Kabakov, Jon Thomson and Alison Craighead, and Anri Sala. Their films, videos, and photographic series address the history of failed utopian experiments and counter-hegemonic social practices. This study illustrates the political significance of these artistic practices and offers a crucial contribution to the debate on the conditions of utopian thinking in late capitalist society, arguing that contemporary artists’ interest in the past is the result of a shift within the temporal organization of the utopian imagination from its futuristic pole toward the pole of remembrance. The book therefore provides one of the first critical examinations of the recent turn towards documentary in the field of contemporary art.