1. http://www.argus.cc

    Roos Cornelissen
    Charlotte Churchill
    Magdalena Melon
    Julia Ting Mok
    Goce Tikvaroski

    “The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”
    Marcel Duchamp

    An Exhibition exists only with the interaction between the object and the viewer. The user is viewing is viewing the object and the object in turn is watching the user. This interaction becomes an infinite play, each one in turn affecting the other.
    This experiment as part of the workshop explores the dynamics of movement and this causal effect in the exhibitions at the biennale. In one series, the participants are shown moving through the space sensing sound and gravitating towards the perimeter. In contrast in the other series, people are shown to be moving away from the strong sounds and images and gravitating to the central light. In this case the field of relations provoke a different pattern of behavior.
    The space acts as a field whereby a singular movement reconfigures the relation between the object and the subject, similar to the Las Meninas painting where the subject engages with the painting. In the 3D exhibition space the same affect is achieved and this is perhaps even stonger.

    # vimeo.com/54563167 Uploaded 58 Plays 0 Comments
  2. http://www.argus.cc

    Elsa Snyder
    Harish Ramakrishnan
    Niek Schoenmakers
    Tesar Filoni
    Kelwin Palmer

    The Biennale of Venice shows works, installations and images by architects from all over the world, each with a different style and background. This collection of architecture is curated by a curator, in the 2012 Venice Biennale by David Chipperfield.
    As we navigated the Biennale, the question we were confronted with and asked ourselves was: How can architecture be exhibited?
    Architecture by its very nature exists beyond the boundaries of its purely physical implementation. This means that any attempt to exhibit it, is inherently flawed. You tend to be confronted with the dichotomy of trying to represent architecture in an exhibition or a futile undertaking of exhibiting architecture. It has so far been impossible to transpose an existing architecture into an exhibition, without using representation. The commonly accepted alternative is to try and construct architecture itself in the artificial environment of the Biennale, which is equally problematic.
    We attempted to navigate and approach this problem by sampling and assembling audio and visual slices of the Biennale. By adding and subtracting contrasting spaces and images, we have tried to create a dialogue between representation and experience.
    There is no narrative to our proposal, it is purely a series of moving images which filter and synthesise experience.
    In many ways the role of the curator is very similar to that of the architect, in that they both synthesise information. However we tend to approach this from very different directions.
    The theme of the Biennale is ‘Common Ground’ and for many of the works within the exhibition, this was the starting point or a point of exploration. Whereas, we began at the end or at least the middle of the Biennale: the exhibition itself. From here we were able to move from curators to creators. By distorting an image, a model or an installation of representation becomes an experiential moving image, created through the dialogue between the images and our representation of it.
    What are the pre-perceptions of a represented space and how can these be distorted in order to create a new and more experiential image? Our solution was, not to curate our perceived highlights of the Biennale, instead we decided to invert our perceptions. By manipulating representations of space we can exploit and reveal the precepts of the exhibition. By editing our personal curations we created a new, and previously impossible, experience assemblage of the Biennale. Through the process of our collage and layering, we hope to create a dialogue that can reveal the experiential in the representational.

    # vimeo.com/54563857 Uploaded 30 Plays 0 Comments
  3. While roaming around the grounds of the Giardini and the Arsenale, an enormous amount of information is trying to find its way into our brain.

    All this information is gathered by Chipperfield’s theme "Common Ground". Although there was this theme and therefore a filter, we came to the conclusion that the theme wasn't enough of a filter to understand the fragments and its whole. Is was more a battle between them, where even the fragments in itself were fragmented.
    This constant battle, where the fragments were also trying to become a whole, ultimately led to the experience of overkill of information.

    Therefore the necessity arose to filter in order to actually understand the environment. Unintentionally, this led to some sort of a super filter, which ignored all information that didn’t seem fitting at first glance and made us only experience what seemed valuable at that moment itself.

    This super filter led to a strong abstraction of things, in which this abstraction became our own reality.

    By abstracting our framed experience in image without sound and sound without image, the abstraction was getting to the emotional underpinning we all share. There was a sense of recognition that’s indefinite yet ecstatic at the same time.
    It reaches a place without predefining that place, the frame of the image + the total of framed images/sounds of different people.
    It becomes a new starting point for the beholder. The abstracted images/sounds connect to earlier fragments, dreams, images of the beholder and thus is able to create a whole new story of its own.
    It continually remakes itself.

    # vimeo.com/54564488 Uploaded 30 Plays 0 Comments
  4. http://www.argus.cc

    Anastasia Tsaparoglou
    Dorothy Law
    Martine Duijvis
    Konstantina Karampini
    Stavros Kousoulas

    This is not an exhibition; it is a shipyard. This is not a shipyard; it is an exhibition. We do not aim to
    synchronize them; we do not aim to multiply the asymmetries of such an effort. In the constant exchange of signifiers and signified we stand as the triangular edge of the parasite tripod, the (dis)harmonic noise of amplified spatiotemporal perception. Multiple points of interest as seen by multiple points of view, all expanding horizontally, all in a conglomeration of potentialities, not of routes or narrations, but of an internal cohesion, open in a constant transformation as long as the assembled elements are reconsidered under new perspectives, spatial or temporal. An assemblage of repeated minorities, of hidden or disguised objects, of potentialities, of the very inhabitance in its simultaneous presence and absence. Each of the narratives unfolds separated, while at the same moment merges in its dissolution, as presented into an one-time only effort of combining with the others. Narratives which vary from one another in all possible senses, in all sensual potentials.
    A disoriented shine from the spatial structure by the very factors which form humane spatial perception, lights, darkness, vivid colors, icons and text. Factors which become the points of interest, factors which themselves create spaces in space, vanishing the limits of our perception, disorientating us. A scale in its aura, absent of typical spatial elements and distinctive objects, evolving on our unconscious reactions, on memories which are created by the very mapping of their emergence.
    An expanded interpretation of space as an inclusive condition, in which differentiations of its characteristics are imposed by our perceptional attitude. A narrative which is born as an unrooted unfolding, gradually escalating in visions of a space temporally inhabited by non-inhabitants, of a common ground for forms of unstable stabilities. But above all, a spatial perception which intends to witness time as an in space action, curved on the very surfaces that perceives.
    Spaces which interrupt the norm of their rhythmic, spaces which define their existence as conditions of exclusion. Corporeal potentials with the capacity to slow down the moment. People seated sharing a slower moment, spaces where others feel unwilling to invade, foreigners creating invisible limits. Spaces which merge scales, defining their visual and sensual geography.
    Walking, stopping, turning, walking and stopping, paths which evolve. Hints on space or moments of disappearance. Tendencies are recorded, attractions which exist in non-spatial terms but are expressed through their capturing in time, as conditions of repetition and exclusion. Field of attraction, of interaction, recorded as an effort of exposing, if any, behavioral patterns of a conditional inhabitancy.
    Space as seen not beneath the glasses of distinction, but as a unified, unique, in-time experience. Space in its presence, in its past and future, merging temporalities and objects, spatial elements of hidden time tracks which formulate our perception. An amplified affiliation, which forces movement, imposes speed and routes, folds in memory, seeks memories in its folding, destroys and creates all what is to be seen, embraces all what is to be felt.
    All five narrations stand out as lonely fibrillations on a plane of immanence. They exist here and now, they can exist everywhere, forever, as long as they are re-assembled, positioned in new angles, shapes, paths, notions and perspectives. They are memories of an inhabitance intending to track and reconstruct the memory of their very execution and existence itself. Small lights or black holes, exposed in their similarities and differences, an act of mapping which is open to any new input, and therefore able to evolve into constantly renewable outputs. The memory of space is the space of memory, in which spatial construction is the genealogical byproduct of prospected memory, of formulated patterns and predispositions.
    It is neither a shipyard nor an exhibition.

    # vimeo.com/54564491 Uploaded 43 Plays 0 Comments
  5. http://www.argus.cc

    Thom Van Maastrigt
    Koen Hoofd
    Willem Baalbergen
    Twinsen Yuen
    Thomas Broos

    How to map the biennale, without tracing? How to show what it is without making a representation that inevitably falls back into a false narrative, an experience that was not the actual experience and can never be that experience? This video shows the relation between exhibitions: the interval, the transition, the spandrel.
    The spandrel is a space where the qualities of the different exhibitions merge. The space that has to exist but was never meant to be. In the spandrel everything intermingles. One can hear sounds of room A and room B. One can see the last bit of room A and see the first of room B.
    The transitive space between the rooms represents nothing, rather it is something. The spandrel is hardly designed but very pragmatic. It's the actualization of the virtuality of the relation between room A and B. In making this transition the spandrel, in opposition to the exhibition itself, does not represent architecture. It IS architecture.
    But then what is this spandrel? Where does it begin, where does it stop? It doesn't. The spandrel is not just the curtain between the rooms, not just the opening in the wall, not just the narrow slightly designed alley from room A to B.
    The spandrel continues into the room, beyond the room. Until the point where we notice that the whole biennale is a spandrel with only a few points of designed attention.
    And when we accept this, we can do away with these last bits of singular representation by introducing memory and expectation instead. For when we draw our attention to a part of the exhibition we are always remembering the previous and expecting the next.
    But the spandrel does not only occur between what we used to call room A and B. The spandrel is everywhere. Between exhibition and building, pavilion and greenery, content and context. The spandrel thus connects not only rooms. But also it connects the backstage of the Biennale to the exhibition itself, the exhibition to it's venue and the Arsenale to the Giardini. From this we could go on and even state that Venice is the spandrel for the entire Biennale, what was first Giardini and Arsenale. Nothing ever exists without relating to something else, thus the Biennale couldn't exist without the spandrel. The spandrel is what makes the biennale exist.
    So the Biennale is not a static narrative, it is constantly being constructed. To stay the same it must always become in order to be. So one sees the Biennale not being either open or closed but the biennale becoming opened and becoming closed. It's the Biennale in continuous becoming: the greenery swiped clean, the Russian pavilion being opened, the boats being tied and getting loose.
    The biennale is an enormous effort to represent what was 'now'. But it can never just be, because it already inspired us before it even opened months ago, and while the 'now' of the common ground is tried to be represented, has already learned us so much. Which we will of course start to use before the official closing. And we don't think they will mind us doing so.

    # vimeo.com/54564489 Uploaded 34 Plays 0 Comments

ARGUS DSD Venice Biennale 2012 workshop - Common Ground

Argus Asa


Browse This Channel

Shout Box

Heads up: the shoutbox will be retiring soon. It’s tired of working, and can’t wait to relax. You can still send a message to the channel owner, though!

Channels are a simple, beautiful way to showcase and watch videos. Browse more Channels.