Place – Tacita Dean & Jeremy Millar
The books surveys different interpretation of the theme “Place” in contemporary art. I found a few relevant critical quotes and artists whose practice is similar to mine.
The Stalker talking about the Zone in Andrei Tarkovsky’s film:
“Our moods, our thoughts, our emotions, our feelings can bring about change here. And we are in no condition to comprehend them. Old traps vanish, new ones take their place; the old safe places become impassable, and the route can either be plain and easy, or impossibly confusing. That’s how the Zone is. It may even seem capricious. But in fact, at any moment it is exactly as we devise it, in our consciousness… everything that happens here depends on us, not on the Zone.
“a romantic notion that the critic John Ruskin called the ‘pathetic fallacy’, the belief that the landscape might be made to mirror the emotional state of the person found within it.”
P38: Baudelaire on the flâneur
“The crowd is his element, as the air is that of the birds and water of fishes. His passion and his profession are to become one flesh with the crowd. For the perfect flâneur, for the passionate spectator, it is an immense joy to set up house in the heart of the multitude, amid the ebb and flow of movement, in the midst of the fugitive and the infinite. To be away from home and yet to feel oneself everywhere at home; to see the world – such are a few of the slightest pleasures of the independent, passionate, impartial natures which the tongue can but clumsily define. The spectator is a prince who everywhere rejoices in his incognito.”
P40: Stan Douglas, Canadian artist made a 6 minute film “Le Détroit” that shows a black woman searching for an unknown object in an abandoned house. The film alludes to the economic problems that turned some parts of Detroit into ghost estates and dilapidated neighbourhoods. “The film is projected onto semi-transparent material, while its negative is projected – with a small time interval – upon the screen’s reverse, thereby emphasising the haunting nature of the narrative.”
P68: Sartre on the Fantastic
“The law of the fantastic condemns it to encounter instruments only. These instruments are not … meant to serve men, but rather to manifest unremittingly an evasive, preposterous finality. This accounts for the labyrinth of corridors, doors and staircases that lead to nothing, the innumerable signs that line the road and that mean nothing. In the “topsy-turvy” world, the means are isolated and posed for their own sake.”
P90: a blue-filter produces the day-for night effect from Hollywood films (‘la nuit américaine’)
P98: Rodney Graham took photographs of Aberdeen, hometown of Kurt Cobain, to show the dereliction of the city, and tacky objects of consumerism.
P138: Chantal Akerman, Belgian film-maker makes documentary bordering on fiction.
“D’est” (From the East, 1993) shows a journey across Eastern Europe, ordinary people and places are filmed.
“From the other Side” explore a small mexican town just outside the USA border where would-be-migrants wait before tempting the crossing, and the opinions of the inhabitants of Douglas, Arizona (on the other side) about the border policy.
P152: Janet Cardiff makes “audio-walks”: she writes a script inspired by mystery/film noir, then go for a walk in a chosen location where she records the script on tape.
P172: J.G. Ballard
“I noted the features of this silent world: the memory earasing white architecture; the enforced leisure that fossilized the nervous system; … the apparent absence of an[y?] social structure; the timelessness of a world beyond boredom, with no past, no future and a diminishing present. Perhaps this was what a leisure-dominated future would resemble? Nothing could ever happen in this affectless realm, where entropic drift calmed the surfaces of a thousand swimming pools.”