The blog’s research folder introduces a series of relevant writers as well as (visual) artists who explore, develop and inform similar concerns around distance, closeness and near space. In the dissertation itself I introduce Joan Jonas’s and Katrina Palmer’s practice to orientate my own enquiries, yet of course there are others that contextualise influences.
Writing at a time that SYP also enquires about influences (see post here), I am retracing somewhat to consider spatial constructions around nearness, distance, reach and resonance.
Gordon Matta-Clark, encountered right at the start of my creative arts studies returns as influence (and so does James Turrell). The dissecting and undoing, revealing of architectural structures, of what holds together and what allows to fall apart was significant when I started approaching space not as a social scientist but from an artistic enquiry.
I encounter him in documented book form and grainy VHS (?) to youtube videos. I see a couple of shows and am intrigued by the delicateness of the documentation (small scale photographic prints, some diagrams) considering the ambition and scale of his practice.
His work is process and unfolding, responding to site and structure, revealing and cutting away. It’s air and void that he works with as much as steel, concrete, wood and the surface coverings. (I currently have no access to the books I have, I somewhat resist the temptation of youtube, so I rely on my memory for the documentation of his documentations).
Sophie Calle returns similarly in this consideration of distance, nearness and spatial constructs. Hers evidently relational, possibly a similar trickster figure to Matta-Clark yet manifesting in a radically different disruptive practice. I again have no access to the numerous books I have by her, the address book, the one where she collates post-break up advice, then there is the memory of seeing her hotel maid work (and I briefly dream of Chantal Akerman’s Hotel Monterey film emulsion). I encounter her first through my closest friend and a surprise at her daring to reveal a relationship breakup just so. Much later I realise that it is performance and art and may as much be untrue as true (and this eventually leads me to all the non-confessional auto-fiction of Kraus, Kapil and others). And it is this suspension of dis/belief over intimacy, truth, conceal of personal affairs that make me return and return: of making personal matter malleable and letting it shift vis-a-vis un/suspecting audiences.
Thirdly, I want to refer to Noemie Goudal‘s work in this post here (insert link to separate blog)
These lay the ground for the enquiry presented in the Research dissertation, around near space, distance, intimacy and eventually resolved along the notions of Laura Marks’s The haptic and the erotic.