In the last two weeks of August 2010, will be held the 3rd Überspass Submaterial Congress.
As we, being an interscandinavian/european virtual/physical collective, are not geographic determined, this site has the very simple yet complex job to coordinate (do not read "order") the great possibilities and potentials related to our geographic in-determinism.
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.
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!
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.
"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."
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.
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 immaterialarchitecture, 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 andresult of the workshop will be presented at theGallery, food and drinks will be served from 2 pm.
Überspaß is a geographicly indetermed platform forarchitectural detox. Überspaß was founded as a collective in Interscandinavia in 2006. However, in december 2009 the collective as well as the geographical determinisme wasdissolved, 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 & ClaphamJunction or Bus 319). www.platform1gallery.com
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
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 proposal named; 98,84,0,0 is reffering to the CMYK.
On behalf of Sune Rieper, Anders Krogdal & Jakob Ingemansson from now on referred to as; RAI
Dear friends and members of Überspass. Friday was held a press conference at 2300 Superior Studios, about the Überspass 3rd subMaterial Congress 2010.
As our workshop in London is approaching, we felt that a common denominator was needed; A umbrella structure that could host and kick-start a range of investigations as well as a theoretical fond.
Since we are 6 people in a very small room during 10 days (/m2/day), we will have to take into consideration that its hard for all of us to be in the room and work at the same time. However we find it most interesting to use the gallery in- and exterior as our main territory. By this meaning to take advantage of the gallery and center the experience of what we do in this place.
Our main idea is not braking news; its about finding a frame in which we will be able to work all of us at the same time with the same main goal, but still retain the possibilities to group up in different constellations and collaborations during the stint. Lets call it THE UMBRELLA STRUCTURE!
As Yves Klein had been discussed on the blog, he came to center a discussion between RAI, on how to frame the investigations. Also since we all are more or less aware of his work, but none of us being an expert, it would also frame a study of his work. On one hand its as simple as blue, on the other hand its dealing with tendencies in the post war/modern society in the 60s. There is a lot of stuff to study.
YK was a part of Nouveau Realisme, a group that he founded with 8 other french artists 2 years before he died (34yo) in 1962. The group was dissolved in 1970. Is there a some group dynamics that we also are a part of there?
Picking up YK, we will have to read some stuff all of us, and maybe even start every morning with introductions prepared individually - nothing like a few well chosen words and a juice to quicken the blood and start the day!
98,84,0,0 is the CMYK code for a color similar to Yves Klein Blue, however YKB is outside the gamut of computer displays (and printers...?). Hereby, already the title of the pressconference is implying that it's not a matter of revisiting Yves Klein, rather to use his work as a starting point of a number of detours referring back and forth.
Yves Klein did through sketches, photography and sculpture investigate what he called Air Architecture, an architecture of the meeting of the elements. Further more he investigated The Void.
Klein's Void is a nirvana-like state that is void of worldly influences; a neutral zone where one is inspired to pay attention to ones own sensibilities, and to "reality" as opposed to "representation". Klein presented his work in forms that were recognized as art—paintings, a book, a musical composition—but then would take away the expected content of that form (paintings without pictures, a book without words, a musical composition without in fact composition) leaving only a shell, as it were. In this way he tried to create for the audience his "Zones of Immaterial Pictorial Sensibility". Instead of representing objects in a subjective, artistic way, Klein wanted his subjects to be represented by their imprint: the image of their absence. Klein's work strongly refers to a theoretical/arthistorical context as well as to philosophy/metaphysics and with his work he aimed to combine these. He tried to make his audience experience a state where an idea could simultaneously be "felt" as well as "understood" http://en.wikipedia.org/wiki/Yves_Klein.
We feel that it is a lot of material and potential for an umbrella structure within this. One example:
The Malmö Experiments During a few sunny days in Malmö AI developed a tiny first relationship to the YKB. The first prototypes made in Malmö circles around an idea of a bleeding building, and was not from the beginning meant to be related to Yves Klein but rather rather to a kind of Andy Goldsworthy gone URBAN. Later conversations on YK made the link to one of his happenings in an empty gallery - only serving drinks. People were wondering what it was all about, but realized the day after, when discovering their blue urine, that they were porters of the artwork.
“I had left the visible, physical blue at the door, outside, in the street. The real blue was inside, the blue of the profundity of space, the blue of my kingdom, of our kingdom! ... the immaterialisation of blue, the coloured space that cannot be seen but which we impregnate ourselves with ... A space of blue sensibility within the frame of the white walls of the gallery.” - YK
Can we exhibit an empty gallery, but load the rain gutters with blue color that will be released when the first rain hits London? Just like the next day urine that the drinks caused. This is just one idea, and we are sure that we will have many more great ideas, and that we will be able to turn many of the prev posted ideas into a beautiful brick in the 98,84,0,0 framework.
We hope you like the ideas. We believe that it will give us a good possibility to bring our 10-days group dynamic into something interesting. LET’S HAVE FUN!
Thursday 13 March 1952 A day is space and so is a year and an hour and a second and a life. Should we live by the year? or the hour? or the day? or the second? I love space and I feel immense when I dream of the infinitely great and the infinitely small. Equilibrium doesn’t exist in space and yet it isn’t chaos! That’s right, I feel it, it’s right I want space. - YK
It would be interesting to put up a list of parameters (for example the weather, number of visitors in the gallery and trains passing) that can control a range of 'actions'.
This list of actions could be compiled collectivly but could for example include cooking, spatial interventions, peformative acts, which tools to use and so on.
The parameters would decide who, how, where and when the actions would be carried out and also how and when to stop. Through creating a script where the context is controling us, I imagine that the we could have a rotating hierarchical scheme, where we build upon each others work and create something that is both connection to the situation of us in the space and the space itself.
At the moment I am zoning/ZOOMing in on on the concept of "Form Follows Finance". I believe that this is the keys issue, and should be well considered of us all, when we invade London in August. Bumped into this project. It illustrates/demonstrates, the potential of of how a single material can transform its original purpose into different state. The project is made for under 400 Euros...
We are the generation of corrections and filters I am told by the swedish journalist Jessica Gedin, listening to one of my favourite radio shows; Spanarna.
3 examples of these thesis:
# ClearPlayis a DVD-filter you can download to your player removing all explicit content seamlessly that "enables your family to enjoy all of the great Hollywood movies you’ve always wanted to watch—without all of the junk you don’t want.You won´t even notice what you have missed, but you will be glad you did." # The method a soundengineer at Sveriges Radio has come up with to get rid of the sound of all Vuvuzelas beeing played at the World Cup in South Africa. By adjusting your equalizer on the tv to filter out keynote 233 Bb or Bess and overtone 466, 699, 932 and 1165 Hertz, the sound of Vuvuzelas is almost gone.
# All the new tec you can find in a digital camera; make-up function, anti-shock-function (with a (side)effect making shaking things appear totally still, when filming I might add).
There is of course nothing new with correcting things we not satisfied with and perhaps not so mind-blowing, but when we are trying to automize it and combine it with modern technologies, there can be some really interesting consequences.
I´m thinking how this could be interpretated into a spatial context. How could a mechanism filtering spatial experiences function, and how would the influenced space look like? What should be filtered? Or can it all be reversed? A mechanism showing everything that is hidden from our perception.
torsdag den 10. juni 2010
Towards a non-iconic multi-hierarchical society
First, an introductory remark; Due to some business in the far east (I have found myself quite locked-up actually) I´ve been rather absent from the project discussed on the blog, but is thrilled about the same and I hope from now on to be a part of it.
With Jakobs post about a process led by some obstructions in mind, I can´t but bring up the american artist Richard Serra and his "verblist method".
"When I first started, what was very, very important to me was dealing with the nature of process. So what I had done is I'd written a verb list: to roll, to fold, to cut, to dangle, to twist...and I really just worked out pieces in relation to the verb list physically in a space. Now, what happens when you do that is you don't become involved with the psychology of what you're making, nor do you become involved with the after image of what it's going to look like. So, basically it gives you a way of proceeding with material in relation to body movement, in relation to making, that divorces from any notion of metaphor, any notion of easy imagery."
It could litterary be one of the obstructions or an inspiration to one. Working with these kind of actions leads to a a non-iconic process where the outcome is more likely to be a finding in some sort. A finding derived from the media, place in relation to the actions or in the method itself.
I think a process like this could fit well with our agenda of a non-iconic multi-hierarchical society.
In a completely opposite direction from what JAKOB is proposing, I want to share this drawing I did the other day upon reflecting on my BRIDGE text. Here the site is viewed through the eyes of the train operator as he passes the site. The red line represents a tactical LAZER SYSTEM - which is meant to create and/or enhance the connection between the opposite sides of the platform/transportation-river.
SomeTHING attached to both points of depature for the lazer could attract audiences, thus creating a fleeting event, somehow establishing or re-affirming the connection between people on opposite sides, with opposite travel directions. Trains passing will of course break the connection, and become meaningful again as the river is clear of obstruction. Whether or not this idea encapsulates the ideas presented in the text is unclear and open for debate. EOF.
It is a bit unclear what this image is doing here, but I like the graphics.
I have an idea, of how to collective formulate a framework. All of us could write one or two obstructions for the working process. This could be done without knowing what the others are proposing, so we collect 5-10 obstructions that create a set of rules on how to work. I would like to emphasize that the obstructions preferably should be process- rather than goal-orientated.
If we do like this I encorrage everyone to think open and wide, the obstructions could involve anything from sleeping hours, what and how to eat, how to commute, dynamic responsability distribution formula, materials/tools to use (or not to use), how (not) to communicate or who and in which way decisions are taken.
This text (I guess it will be a text, right?) could be written in advance, maybe on a specific date/time which will save us time to work while in London. Also, what is interesting is that we will know before we start exactly what we are doing, but in the same way not having any idea at all.
An additional idea is that someone is collecting the obstructions and putting them together in a travel/work_guide.pdf (also including useful adresses and stuff) that everyone can print just before the trip starts. In this way we will not reflect collectivly on the obstructions before we come to London. I like that.The chronicuncertainty vs. The perpetual order.
Optagelserne skal ske on location, kulisser og rekvisitter skal forefindes fra starten og må ikke placeres på stedet til optagelserne.
Lyden må aldrig produceres adskilt fra optagelserne. Musik er kun tilladt, hvis det spilles direkte under optagelserne, f.eks. i form af et bånd eller en plade, der kører mens scenen skydes.
Kameraet skal være håndholdt.
Filmen skal være i farver. Speciel lyssætning er forbudt, men hvis der er for lidt lys til optagelserne kan man sætte en enkelt lampe på kameraet.
Optiske filtre er forbudt.
Filmen må ikke indeholde overfladisk action, f.eks. er mord og våben forbudt.
Tidsmæssigt og geografisk må filmen ikke afvige i forhold til virkeligheden. Filmen skal ske her og nu.
Genrefilm er forbudt.
Filmformatet skal være Academy 35mm film.
Instruktøren må ikke krediteres.
The five obstructions
Leth must remake the film in Cuba (but with no set) with no shot longer than 12 frames, and he must answer the questions posed in the original film; Leth successfully completes this task.
Leth must remake the film in the worst place in the world but not show that place onscreen; additionally, Leth must play the role of "the man". The meal must be included but the woman is not to be included. Leth remakes the film in the red light district of Bombay, only partially hiding it behind a translucent screen.
Because Leth failed to complete task 2 perfectly, von Trier punishes him, telling him to either remake the film in any way he chooses, or redo obstruction 2 in Bombay again. Leth chooses the first option and remakes it in Brussels using split-screen effects.
Leth must remake the film as an animation. He does so with the aid of Bob Sabiston, a specialist in rotoscoping, who creates animated versions of shots from the previous films.
The fifth obstruction is that von Trier has already made the fifth version, but it must be credited as Leth's, and Leth must read a voice-over narration ostensibly from his own perspective but in fact written by von Trier.
Post-post thoughts: The obstructions could also be assembled for the first time when we meet on site.
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