Category Archives: Material

Flatbed processes

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.

Improvised process.

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.

 

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The Fragment: Towards a History and Poetics of a Performative Genre

The Fragment: Towards a History and Poetics of a Performative Genre 

This monograph is an interdisciplinary study of the concept of ‘fragment’ in literature and in critical and literary theory. It discusses the fragment’s performativity and function within a historical perspective, stretching from Heraclitus, via the German Romantics and European writers of the Modernist period, to American postmodern manifestations of the fragment. This is the first history of the fragment to appear in English, and it is also the first attempt at producing a consistent taxonomy of literary and critical fragments. The fragments are categorised according to function, not author intention, and the study addresses a number of questions: What constitutes the fragment, when the fragment can only be defined a posterior? Does the fragment begin on its own, or is it begun by others, writers and critics? Does it acquire a name of its own, or is it labelled by others? All these questions revolve around issues of agency, and they are best discussed in terms of performativity, which means seeing fragments as acts: acts of literature, acts of reading, acts of writing. The book demonstrates how a poetics of the fragment as a performative genre can be created, situating the fragment both as literature and as a phenomenon within postmodern criticism against the background of philosophy, art history, and theology

Paperback: 410 pages

Publisher: Peter Lang Publishing (15 Dec. 2004)

  • ISBN-10: 0820471585
  • ISBN-13: 978-0820471587

The Aesthetics of Matter: Modernism, the Avant-Garde and Material Exchange

The Aesthetics of Matter [electronic resource] : Modernism, the Avant-Garde and Material Exchange 

Series: European Avant-Garde and Modernism StudiesPublisher: Berlin/Boston : De Gruyter, 2013.Description: 1 online resource (435 pages).ISBN: 9783110317534.Subject(s)

Contents:

Introduction — Matter on the Move — Translations — Modernism Diffracted — Picture Postcards from The Sturm Gallery and Walden. Collection in Berlin — André Breton’s Autobiographical Cut-Ups — Collages, Photographs, and Cinema — Visual Music, a Missing Link? — From Abstract Film to Op Art and Kinetic Art? — Henryk Berlewi’s Mechano-Facture as a Transmedial Adaptation of Viking Eggeling’s Experimental Films — “hap-hap-hap-hap-happy clothes” — Avant-Garde Experiments in/with Material(s)
Deconstructive Readings of the Avant-Garde Tradition in Post-Socialist Retro-Avant-Garde Theatre — The Materiality of a Contemporary Avant-Garde? — Legacies of Surrealist Collage in Contemporary Art — Spaces and Places — Reproducing the Avant-Garde — The Art of Modernist Magazines — Bedeutungsveränderung und Kanonisierung des deutschen Expressionismus in den USA — Expressionism, Fiction and Intermediality in Nordic Modernism — Materiality and Dematerialization in Paul Neagu’s Work
Embodiment and Visuality in Post-1950 Music — Subjectivities — M/Paternal Meanings in the Neo-Avant-Garde — Raoul Hausmann et le montage de matériau textuel : Hylé I — Georges Hugnet’s Surrealist Monsters and Women — From Material Meaningless to Poetics of Potentiality — The Religious Dimension of Lettrist Visual Poetry — A “Dance of Gestures” — Hyperdialectic in Gertrude Stein’s Compositions — Conceptual Frames of Life — Passage du sujet dans la « matière mentale » surréaliste — List of Contributors — Index
La maison d’artiste en portrait, manifeste et sanctuaire — L’exemple de Fernand Khnopff — Liquid Modernity and the Concrete City — Ford Madox Ford and Virginia Woolf — Bodies and Sensoria — To “Feel Breathing” — Duchamp and the Immaterial Aesthetics of Scent — Synthesis Instead of Analysis — Avant-Garde Eat Art and the Cultural Dimensions of Taste — Lygia Clark, the Paris Years — The Body as Medium and Material — Les matérialités à l’oeuvre dans la « poésie élémentaire » de Julien Blaine — Corps, que me veux-tu?
The Poetic Materiality of Fascism on the British Stage — Dematerializing Verbal and Visual Matter — Wassily Kandinsky’s Bitextuality — Material Memory — Beyond Matter or Form — Invalidating Subliminal Contradictions in the Aesthetics of Matter — Upon Hearing James Joyce — The Anna Livia Plurabelle Gramophone Disc (1929) — Small Press Modernists — Collaboration, Experimentation and the Limited Edition Book — Plaster as a Matter of Memory — Auguste Rodin and George Segal

 

Summary: This volume proposes an in-depth exploration of the materiality of art and writing in modernism and the avant-garde. The essays explore how the avant-gardes and modernism attempted to establish the material specificity and hybridity of media and art forms. The collection sheds light on the full range and import of the aesthetics of matter in avant-garde and modernist practice across all art forms from the 19th century to the present day

A handful of dust : from the cosmic to the domestic / David Campany.

handful of dust : from the cosmic to the domestic / David Campany.

Publisher: [London, England] : Mack ; [2015]Description: 153, 71 pages : illustrations (black and white, and colour) ; 24 cm + 1 loose book insert (71 pages).ISBN: 9781910164389; 1910164380.Subject(s): 

 Published on the occasion of the exhibition held at LE BAL, Paris, 16 October 2015 – 17 January 2016.

a Handful of Dust is David Campany’s speculative history of the last century, and a visual journey through some of its unlikeliest imagery. Let’s suppose the modern era begins in October of 1922. A little French avant-garde journal publishes a photograph of a sheet of glass covered in dust. The photographer is Man Ray, the glass is by Marcel Duchamp. At first they called it a view from an aeroplane. Then they called it Dust Breeding. It’s abstract, it’s realist. It’s an artwork, it’s a document. It’s revolting and compelling. Cameras must be kept away from dust but they find it highly photogenic. At the same time, a little English journal publishes TS Eliot’s poem The Waste Land. “I will show you fear in a handful of dust.” And what if dust is really the key to the intervening years? Why do we dislike it? Is it cosmic? We are stardust, after all. Is it domestic? Inevitable and unruly, dust is the enemy of the modern order, its repressed other, its nemesis. But it has a story to tell from the other side. Campany’s connections range far and wide, from aerial reconnaisance and the American dustbowl to Mussolini’s final car journey and the wars in Iraq. a Handful of Dust will accompany Campany’s exhibition of the same name, curated for Le Bal, Paris (16 October 2015 – 17 January 2016), with works by Man Ray, John Divola, Sophie Ristelhueber, Mona Kuhn, Gerhard Richter, Xavier Ribas, Nick Waplington, Jeff Wall and many others, alongside anonymous press photos, postcards, magazine spreads and movies.