Swapnaa Tamhane
The Institute of Knots
2012
performative installation
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Scotiabank Nuit Blanche, Independent Projects
Museum of Contemporary Canadian Art courtyard, Toronto
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“Viewers were invited to make knots, while I unknotted the knots simultaneously.”
Anders Krisár
Flesh Cloud #1 (top)
Flesh Cloud #2 (bottom)
2003
chromogenic prints mounted to class
each 141 x 180 cm
Patricia Reed
The One As The Many (Purple Square)
2011
purple election ink on paper
132 X 132 cm
(installation view and detail)
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Aesthetic Management: “The same ink that is used in new democracies to prevent election fraud by marking ones finger (remaining for three days), has been used to performatively stamp a surface with the single index finger of the artist, creating an inconsistent monochrome.”
Department of Biological Flow
Imago (Kino-Butterfly · Someone Might Be Listening · Lorenz Security Ltd.)
April 28, 2011
performance and archive
Department of Biological Flow
Ghosts in the Machine (Flight of the Mecha Butterflies)
work-in-process
installation (above: floor plan schematic)
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a proposition unfolding
1. affix mesh screen to paper coveralls to form the contours of a mesh skin suit.
2. arrange 8-foot-high walls of mesh screen, in various lengths, along horizontal, vertical and diagonal vectors around the gallery space.
3. participants who visit the gallery space will receive a mesh skin suit to wear for the duration of their stay.
4. participants move freely through the gallery space, forming ghostly topologies of moiré patterns.
Indirection
Two propositions:
1. A new topology from “2D” to “3D” space, bringing the coils of “boundaries” to a rigid yet pliable foam.
2. Time constraints: 15 minutes of movement, followed by 5 minutes of writing; 30 minutes of movement, followed by 10 minutes of writing; no talking; record to video; discuss at the end of process. Engage any objects within the studio space in such a way that their tendencies or movements are “indirect”.
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Erin Manning: “What takes form as we move is the actualization of virtual potential rich in each displacement. The eventness of movement is a virtually concretized differentiation of matter-form that creates a dynamics that is of the order of speed itself.”
_____
Relationscapes: Movement, Art, Philosophy, MIT Press, 2009.
enter the line
at the point not
then or where-now
but sort of a
silent halfway toward
finding ourselves.
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A Movement Topology from “2D” to “3D” Space
A given stream of signification is already woven of many threads (for example, a song which may have a title, lyrics, rhythm, melody, genre, etc.), any of which may move through an apparent cut or break in a process of experimentation to form a new tendency through experience, memory, or “intent”.
1. Begin with atmosphere. Take turns retrieving music from the internet archive, one song at a time.
2. In the confusion or hesitation to gesture and intersubjective embodiment, begin with language. Free associate keywords, concepts, and points of interest, marking the vertical surface of inscription as such.
3. Do not speak to one another during the process.
4. As best possible, enter this process somewhere in the middle — “en route” to who knows where — and simply make.
5. When the process is exhausted, discuss.
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tiny menhirs dot curious
our passage together
ancient journeys through time
or with moments to live.
_____
workshop with toronto-based dance/performance artist cara spooner, retrospectively titled.
poem quoted: “constellation”, sportsbabel, july 2011.
