City Breaks
Chris Barr, Mar.
2005
The user of a city picks out certain fragments
of the statement in order to actualize them
in secret R. Barthes.
I think for many of us the decisions, which we perhaps made almost
unconsciously in regard to the project, are much easier to bear
witness to now that we have had time to reflect upon them. I am
genuinely frustrated with myself however, because I feel I took
my eye off the ball for the last part of this exchange.
I think that the work I produced for the Helsinki show at the Muu
Gallery seemed to embody a search for something, this seemed idealistic
in itself, perhaps it seemed that way purely because it questioned
established or conventionalised structures that people were over
familiar with i.e. municipal architecture. On the other hand perhaps
the moving about that the city multiplies and concentrates makes
the city itself an immense social experience of lacking a place
to walk is to lack a place?
One of the first metaphors that I came
across for describing the state of distraction that I cited as a
proposed avenue of research in some of the previous texts I have
submitted for this project was that of the labyrinth, a Nietzscean
metaphor for modernity that would certainly embrace the art
of losing ones way beloved of Walter Benjamins
city walks
I think the searching element that seemed to be at work (through
activating the space outside the gallery with the simple use of
a heater, and in the process of collecting personalised maps of
the city), generally did show more potential as a viable way of
working within this exchange / project that would have counted for
more in terms of the active part that it played in becoming more
performance based and in generally serving to create a dialogue
with the city and its inhabitants. It should have been continued
in some way for the London episode...I feel that I became a little
bit seduced with making models because they represent a familiar
way of working for me, as I have predominantly been pre-occupied
with objects and how meaning is generated through methods of production
within my own practice. The models are more tangible in some ways
although not necessarily in the ways that perhaps this project entails
or was intended to encourage
So I think it would have been
a lot better to have continued the works that seemed to show more
promise because of the open-ended and active questioning of public
space in a more direct way.
A space is public, on the one hand, when
it functions as a public prison: its conventions, images,
signs, objects become facts of life they make a system of
order in which everything is in its proper place, and the
citizens follow suit. A space is public, on the other hand, when
it functions as a public forum: its conventions, images, signs,
objects are turned upside-down, or collided one with the other,
or broken into bits, so that these conventions are de-stabilised
(theyre not solid facts anymore) and the power that grounds
each convention is exposed (the space becomes an occasion for discussion,
which might become an argument, which might become
a revolution). Vito Acconci.
I also think for me at least, it is no great surprise that I fall
back on what I know or what is perhaps more comfortable, but unfortunately
this familiarity has meant that I did lose sight of what is crucially
more interesting when it comes to creating a discussion which, I
feel has been one of the defining points of this project-in its
attempt to say something comprehensible about something as diverse
as our conception of the city. The fact that I am now much more
aware of how easily I assume a familiar approach to art making if
I do not question the structures that support my practice is an
issue which this project has at least been successful in bringing
to the fore.
The idea that any of the works I have produced might serve some
practical purpose is slightly ludicrous, particularly the alternative
map of Helsinki, however the relationship of a work of art and the
functional origins that it may allude to, has long been a pre-occupation
of mine. To this end I dont necessarily feel that I have questioned
the function of the gallery as a supposedly neutral
space in the way that Simo has, where the gallery is a starting
point and an end point in some way, but the work has taken place
outside of the gallery and as the result of a direct approach that
negotiates a much larger territory for the work both literally and
conceptually.
If it is true that a spatial order organizes
an ensemble of possibilities (e.g., by a place in which one can
move) and interdictions (e.g., by a wall that prevents one from
going further), then the walker actualizes some of these possibilities.
In that way, he makes them exist as well as emerge. But he also
moves them about and invents others, since the crossing, drifting
away, or improvisation of walking privilege, transform or abandon
spatial elements. Thus Charlie Chaplin multiplies the possibilities
of his cane
in the same way, the walker transforms each spatial
signifier into something else. And if on one hand he actualizes
only a few of the possibilities fixed by a constructed order, on
the other he increases the number of possibilities (for example,
by creating shortcuts and detours). Michel De Certeau from
The Practice of Everyday Life.
I have gained a lot through my involvement with this exchange,
I know this because despite the fact that some of the questions
which the project has brought up were not necessarily answered in
a direct way by the group as a whole, I can clearly see the potential
that working in this way provides and how much more control it entails
for a group of artists to question curatorial practices and actually
shape the context in which the public view their works.
It is difficult, as we have discovered, to bring the different
stages and outcomes of discussions and experiences to the attention
of the audience. This is I think, due to the fact that we would
have spent as much time formulating a strategy to tackle this issue
as we did on realising our own individual responses to the project.
I think that if one of the objectives of the project was to identify
a way of working collaboratively, a map of the different ways in
which our individual research has overlapped would have identified
quite quickly which issues were being given more consideration,
although I think it is hard to work collectively when, as an artist
you are aware that you may be working in a way that bears resemblance
to anothers approach but never the less feel that you have
to learn through the process of completing a work which serves as
an example of your own attempt to come to terms with a problem.
Of course any such associations between the works in the gallery
are there for the viewer to make, and to a certain degree the difficulties
we have experienced in actually bringing the group together as a
whole are as equally important to the nature of how we account for
this project, which has enabled me to broaden my understanding of
curatorial approaches not to mention cultural exchange.The following
texts could accompany the works:
The small hand drawn maps collected in Helsinki for my own orientation,
offer an alternative cartography of the city inscribed with the
personal realities of the people who have drawn them. It became
apparent to me in acknowledging the dialogue that each map entails
that perhaps the act of walking is to the city, what the act of
speech is to language. In this sense each new shortcut is representative
of a new possibility, which in turn gives shape to the city.The
models that I have made could be seen as an extension of the map-making
process, and as a means of establishing a link between landmarks
which serve as points of orientation. There is a latent economy
in the way materials can dictate their own formal solutions, which
is displayed here in the production of architectural models that
bring everyday materials and their functional origins into a dialogue
with the monumental landmarks characterised by modernist buildings.
One such Landmark in Helsinki is the Finladia Hall designed by
Alvar Aalto, the logo of which, used in its media circulation, has
served as a schematic for a model that attempts to lay emphasis
on the imagistic quality of the quasi-abstract building
as a sign. The logo in this circumstance represents an unattainable
point of view or an ideal one, which does not exist at street level.
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