fredag den 27. august 2010

(im)material spatiality - Day 7

After a late night of browsing through our captured material, three works were sent to print in the early morning, to be used in a publication for sale during the exhibition. Discussions of which and how many works to print had kept us up late, and maybe the misty late hours kept us from getting all the way in the decisions . A vague feeling of incomplete argumentation has followed the group throughout the day.

However, the idea of doing a more complete publication after the exhibtion, including both printed material and video, emerged.

During dinner at Natasha’s, Marta joined the group, giving us even more strings to use in our investigations. Her presence as someone coming from outside the group is having a healthy impact in both making us explain what this is all about, and by that also sharpen our senses. Throughout the day recording sessions of her violin interpretations of our investigations has been added as a new layer to our common works.



As the day went on, all ongoing projects were collectively pushed to new heights as our emperic knowledge is constantly increasing and with the fact that our deadline is approaching.

Post-production, publication making, installation building as well as the last investigations are now taking place simultanously. With the void, full powers.


(im)material spatiality - Day 6

This day of production and pleasure divides into 5 parts;
I) Finding a metal plate sized 40x40 cm.
II) Challenging the idea of dust-voids,
III) Dining at Natasha's
IV) Urbanizing the 'light weight indicator of potential space shaped by the wind' (formerly know as the Windicator)
V) Editing at Bethnal Green, Barnet House


I)
After yesterdays metal plate hunt, tile harvest and lessons i physics (described by Magnus), our hunt for a proper sized metal plate continues in the area around Brick Lane. London seems to be a mecca of steel and yet steel seems to be quite a difficult material to acquire. Finally a back yard near Brick Lane shows promising signs. With the help of a helpful guard we manage to get away with a 100x70 cm metal plate and get it cut into 40x40 cm for the cost of 6 Carlsberg at a MC repair shop. This success is a vitamin injection to the group.

II)
A new dust canon was made during yesterdays preparation. Filled with 6 kg of self raising flour from the local store, it is pulled up 10 m in a solitaire tree in the park behind the Wandsworth Common St. All most wind still, the flour exposed to gravity creates a falling dust column which quickly turns into a huge dust cloud as the particles hits the ground and covers the grass with a potential self raising doug.

The experiment is later done in another environment between three 20m trees. This time pulled up more than 12 m the flour creates tremendous clouds filtered by the leafs as it is carried away by the wind. All team members on site filming the performance.


III)
Splendid again Carlos. gaspaccio, meatballs and rice, salad, water, beers and coffee for the whole team: £50

IV)
As a part of the idea of indicating, is the idea of changing environments. By this we will change the perception of the immaterial space and the public will become a part of the story. Children's bedtime postponed as the 36m2 sheet hovers above expensive cars and frames the view of £100.000 villas.


V)
As we arrive at Barnet Grove, Bethnal Green; red wine in blue bags, its obvious that postproduction in late hours is quite often more post than production. 3 photos are chosen for the publication as early bedders will get up early in the morning to print them. The rest of the crowd will rest and arrive at the gallery full powers with expectations hovering above the platform.

torsdag den 26. august 2010

(im)material spatiality - Day 5


Today; a lesson in physics.


i) Substance
When exposed to both extreme heat and extreme cold:
a. ceramic tile will crack
b. skifer rock will break in equal parts
c. glass will shatter in multiple

When ones intentions is to expose a material to these extreme conditions, only one material will suffice: Metal. This material is scarce, harvesting it can be a difficult task. The keyword is endurance.

ii) Fahrenheit
When moisture in the atmosphere is condensed, water vapor into drops heavy enough to fall to the Earth. This might interfere with any activity involving the great outdoors, in particular experimentation with small dust particles which, when exposed to water, will increase its volume and transform into something generally undesirable.

Under these conditions one may find it best to stay indoors. A good way to spend this time is to prepare for better days, and focus on your immediate interior space. When that sunny day comes around, you'll be glad you did.

iii) Relativity
Counting by the Gregorian calendar, a full week has passed since Überspaß again has teamed up. As these logs are testament to, many discussions has taken place, many decisions has been made, many dinners have been consumed, and some work has even been done. It is sadly too complicated and unnecessary to discuss Albert Einstein in this paragraph, but one thing has been proven for a fact. Time is relative.

onsdag den 25. august 2010

(im)material spatiality - Day 4
















The day of improved preparations

Leaving the apartment this morning , there was something in the air. After the initial days of calibrating our investigations, now was the time for production.
A quick stop to get some fresh java and trusty ropes, and off we went for the gallery.

Reaching the gallery a schedule was made to get a grip of what to do. This could be some sign of us getting control of our work. When you are able to make a schedule you know what you have, what to do and perhaps how to get there.

The group split in half to get more efficient. The last preparations was made with the PFKAW (Project Formerly Known As the Windicator), invitations/posters was printed and arrangements outside our safe territorium was made. We have for some days discussed if it wouldn´t be a god thing to challenge ourself when realizing our ideas. If a hovering plastic screen could reach is full potential in an urban setting between two buildings, then it´s just to ask the owners of the building for a permission to use their property.
















A new attempt in de(find)ing voids with our own bodies took place. Now in the local park, recording it from a scaffolding high above to get the right frame. Movement of the body and a recorder (camera) making us to move freely in a non-linear way through the spacetime in our search of the void.

After dinner, when the feeling was great and our expectations reached it´s peak, we met reality. Dustclouds not dusty enough, wind not windy enough and people with to much pennies invested in the same space as wanted to use. This means back to the gallery, experimenting with new materials and waiting for the right conditions.

As it turns out, the day of production became the day of improved preparations.

But as we moving towards christmas, something is soon to be fully released.


tirsdag den 24. august 2010

(im)material spatiality - Day 3


Reaching midpoint for the workshop.

Homemade breakfast at our basecamp in Bethnal Green. Porridge and baked beans was served.

The natural change in process, made the start of the day a bit different. Going from the colorcode (cm)ykb, changing into studies of immaterial impacts on spatial insight, made a excursion to the local artshop to find material that could help us express our interest in representing the immaterial. During the previous days of the Submaterial Congress workshop, we had through discussions in random pubs, and on site, realised, that our focal point in this workshop, has not really concerned the color blue, but rather the urge to experience Yves Kleins immaterial sensibility in realising the void through wind.



A dust bomb was created and studies of how a windpainting could be constructed was discussed and tested in small mock-ups.

The divingboard phenomenon, seeing Yves Klein as the board and Überspaß’s process as the dive, has been clear throughout the past days. When being in the jump, one does not grasp the time and change, before the other element embrasses and draws you in.

Sending out invitation and making posters was started. The printshop behind the gallery was attacked, and we forced them to make a good deal…

All things has now been activated.


New Title and invitation

(CM)YKB 98,84,0,0 -------> (im)material spatiality



mandag den 23. august 2010

(CM)YKB 98,84,0,0 DAY 2

The components of the day:

London – buying materials: plastic sheets

Breakfast. Talk about introducing the wind / materialize the void

Sketch of the installation “3 conditions Ice/Water/Steam”

Preparing “windicater”

Trial and Error on the platform

Conversation with Merlin about risk assessment/ curator, art, risks, roles, gallery, attitudes

Beef Stew at NATASHAS

The Windicator in the Park

Back to London

In a bar. Uberspaß is structuring the exhibition.

In the Kitchen, discussing the organizational practice and ambitions of Uberspaß

Yesterday was the day of playing with the boundaries of the void using the space of the gallery. Today is the day of expanding our field of investigation. Expanding our investigations to the outside of the Gallery, and Expanding our sensibility to the immaterial forces of the void. The air. The wind. The atmosphere.

We are imagining four different investigations of the air.

The Windicator; The Air Attractor; The Fall of Dust; The Windpaint

Outside the gallery the trains are frequently passing by. The idea of focusing on the air pressure created by the speed, and body of the trains, seems potential.

Introducing these ideas to the authorities of the gallery everything becomes complicated. The combination of art and trains can be a dangerous cocktail and we do not fill motivated for writing “risk assessments” of our ideas. (Phillipe Petit did not ask for permission to entering the void between the twin towers). Maybe we will re-introduce the platform as one of our playgrounds, but right now the energy is not for permissions. On the other hand, a part of interfering with other territories is to knock on people doors in the search of permissions. It’s productive to think of permissions as a positive aspect of making your stuff relevant.

After a well made Beef Stew from Natashas we find our selves in a picturesque park next to the platform filled with a euphoric joy. We managed to hang up a 42 square meters of thin plastic eight meters over the green lane. The wind is blowing softly and is constantly changing the shape of the canvas in duration that seems to be slower than real time. We now believe in the meditative joy of extracting movement from the wind. Tomorrow, we will double up the size of the plastic canvas and try again.

søndag den 22. august 2010

(CM)YKB 98,84,0,0 - DAY 1



With the void, full powers
During the breakfast at Natasha's the discussions came to circle around voids – how they are defined and their relation to the solid. Later while organizing the gallery space, filled up with tools and equipment, the urge for void emerged. The gallery space was cleaned out, giving us the feeling of an empty canvas ready to be loaded with content.

Further more the discussions came to center around immateriality, leading us to the desire of investigating the immaterial void. Could the void be defined over time, only existing by overlaying a spatial memory?

After a range of technical trials and errors, the first immaterial void was defined through a looping circular one person movement in the gallery space. The act, becoming ritual and almost meditative, defined a void through the contrast between the space of flux and the static space in the center, similar to the tornadoes turbulent vortex and its calmness of its eye.

A second void was defined by a five person's repetitive linear movements through the gallery. The solid human mass filled up the space and defined a narrow linear void through it. As we kept on going back on forth, the voids halo emerged, almost becoming tangible.

At this point, we started to discuss memory in relation to space, and how and if to represent what we have just investigated. The discussions continued over a delicious Paella at Natasha's, where the idea of also documenting the void in sound was presented.

Back in the gallery, a double-stereo recording of a rubber ball, bouncing at the gallery's edges was made. The ball's contact with the different surfaces, the velocity of the ball decreasing while the frequency of the bounces increased defined a spatial audio representation of the empty space.



A third visual investigation of a void was made, this time the representational recording equipment left the plan view in favor for the eye perspective, to boost the three dimensionality of the void production.

(CM)YKB 98,84,0,0 - DAY 0

Today was the day of arrivals. Arriving to the gallery Platform 1, the arrival of Sune Rieper (as the last tutor and participant of Überspass 3rd subMaterial Congress), but also the arrival of the first group-conscious experience of (CM)YKB 98,84,0,0. So what do we want to tell our selves and what do we want to tell in a wider picture? I guess arrivals always asks a lot of questions and so does this evening leave us with a lot questions posed.


As always you can dig into questions and characterize them as either extensive or intensive ones.
Extensive questions would concern everything, that divided into two would always become two half; 1L of water divided into two becomes 2x 0.5L whereas intensive questions would concern the cup of 90 degrees water, that divided into two wouldn't become two cups of 45 degrees water.

If these thing were to travel into the realm or our life, appearance and arrival at the gallery these intensive and extensive questions would, bend in neon be; 'how many m2 do we have at the gallery' and 'what do want to do when we want to do this at this place for 10 days'.

Having the fact in mind, that none of us went here without arriving at some point, it would be reasonably fair to mark this critical point where arriving is no longer to be part of the picture.
From this very moment we are appearing until our departure.
This is not a count down. This is not a revisit. Neither is it a extensive reformulation of Yves Klein and his works. What we aim to do is to dive into the beliefs that filled his young mind in his active years, go trough the bottleneck and into our own landscape of aesthetic detours investigating our own beliefs in his optics.

We have earlier stated these 10 days as a workshop with 6 participants and 6 tutors; all of these roles played out by of selves. We are intensively discussing how to structure our 10 days here at the platform gallery, and it would be a journalistic crime to say that everything is sorted out by now.

To get as close as possible, with out saying too much, we could present the strategy as and interpretation of the french cheese dish… the aware reader would say; 'But this just sounds like a description of Überspass in general.' Yeah not bad… in this case the Comte would be earth wind and fire, the Brie would be simple blue and the Chevre could be the void - who knows?

What you can quote for truth is that Überspass will have fun for 10 days!

torsdag den 19. august 2010

Summary from touchdown-day London



This summary proposes a workshop based on the before mentioned concept, 6+6=6, which actively is being used for building and structuring the workshops proces and outcome.

onsdag den 18. august 2010

Preliminary Problems in Constructing a Situation

"A constructed situation must be collectively prepared and developed. It would seem, however, that, at least during the initial period of rough experiments, a situation requires one individual to play a sort of “director” role. If we imagine a particular situation project in which, for example, a research team has arranged an emotionally moving gathering of a few people for an evening, we would no doubt have to distinguish: a director or producer responsible for coordinating the basic elements necessary for the construction of the decor and for working out certain interventions in the events (alternatively, several people could work out their own interventions while being more or less unaware of each other’s plans); the direct agents living the situation, who have taken part in creating the collective project and worked on the practical composition of the ambiance; and finally, a few passive spectators who have not participated in the constructive work, who should be forced into action.

This relation between the director and the “livers” of the situation must naturally never become a permanent specialization. It’s only a matter of a temporary subordination of a team of situationists to the person responsible for a particular project."

-Guy Debord

tirsdag den 17. august 2010

Can (CM)YKB 98, 84, 0, 0, be considered as a program rather than a color?


Refering to a conversation between Krogdal, Haraldsdottir and Ingemansson on using a flower as a architectural generator we distinguished between seeing the flower as a shape and the flower as a program, where the later intrigued us more since the investigation and process appeared more open-ended. Could this be the case for YK:s work with the color blue as well?

Reading about International Klein Blue, this caught my attention: "While it is often said that the method for creating International Klein Blue was patented by the artist, this is not entirely true. Klein's patent had little to do with the chemical composition of the color, instead describing a method by which Klein was able to distance himself from the physical creation of his paintings by remotely directing models covered in the color."

Even thought YK "structured" these paintings (the color), he was in a way, similar to how we talk about involving the flow of people and trains, letting the context, in his way the models, control the work.

mandag den 16. august 2010

Monochrome logotype and invitation



(CM)YKB 98, 84, 0, 0

Between 20th and 30th of August 2010 Überspaß - no RSS architecture - will territorialize at Platform 1 Gallery in London. A workshop, made up of 6 tutors and 6 participants will be held, let’s call it the 6 + 6 = 6 concept. The workshop’s starting point is coined to (CM)YKB 98,84,0,0, referring to Yves Kleins immaterial architecture, leaps into the void and last but not least, the colour blue.

However, as Yves Klein Blue is out of the CMYK gamut, as implied in the title, it is not a question of a revisit, rather use Yves Klein’s work as a starting point of a number of detours referring back and forth.

On Sunday the 29th of August 2010, the process and result of the workshop will be presented at the Gallery, food and drinks will be served from 2 pm.

Überspaß is a geographicly indetermed platform for architectural detox. Überspaß was founded as a collective in Interscandinavia in 2006. However, in december 2009 the
collective as well as the geographical determinisme was dissolved, a new logo was released and the platform was established. Ever since, the mission has been to investigate how to structure geographically indetermed collective creative processes. Contact: +44(07)546232800 / uberspass(alphakrull)gmail.com



Platform 1 Gallery is located Wansworth Common Station (Trains from Victoria, London Bridge & Clapham Junction or Bus 319). www.platform1gallery.com

tirsdag den 10. august 2010

People flow - context inclusion



From a public square in Krakow, I'm thinking a little bit about how we could include people in our proces or in the final exhibition, if such a thing will ever exist.

The recording was done because I found my self with a completely shitty blue pen at a sidewalk café trying to capture the idea of people flow in a small narrative as a means of including time - quite impossible and rather stressful it felt.

save link as to LISTEN


These are the notes I did with the shitty pen:




søndag den 8. august 2010

Emphasising the void through light (UPDATE)



AVOID.blue







(our all-round comstumes! $59.00, WHY-BE-BLUE (?))


This proposal is a continuation of Jakobs previous sketch.
When the door opens the light is turned off.
The void is revealed through the objects hanging, leaning etc. in the room.
When the door closes, the ultra violet (Blue) is turned on and the objects melts together and creates a "unified" blue space.
These object could be seen as paintings, sculpures, pics, food etc. within the space.
When the door is again closed, the lightings are the only objects standing out, thereby creating a connection beween the two worlds. the world of void and the world of blue

(the sketch show two actions at the same time.)

responsive light action_alternative version

responsive light action and frequency dependent sedimentation


Q Magnus; "Toying with the idea of bathing the inside of the galleryspace with blue light from a single very powerful light source."