“in punte pite, i went there and i knew the place and i said: ‘listen, this is for everybody because there is such beauty.’ this public space makes everything better, for business, for nature, for the people, for everybody. i think that the place talks by itself. if go there and walk along the coast as i did, you can feel that it’s a special place. so you build a path.”
24/08/2012 § Leave a comment
teresa moller, punte pite (2005)
caitrin daly and adrian keene: it’s almost like you mediate a way for people to negotiate and experience these sites.
teresa moller: yes, with one little line, it helps you to go from one place to the other but you don’t need more than that.
cd + ak: in terms of your process, when you design a landscape do you design piece by piece over time, or do you create a whole plan?
tm: i make a plan because you have to have one vision, one idea. one vision for all of it and you must know that you want something to come from this place. you may go in different ways, but you have to know where you start and where you finish – it doesn’t work to go little by little. because then it becomes like all different things together and you will never get the feeling of something that is a whole vision. for instance, a park design (named ‘casablanca ii’), started by discovering a circle that was there but you didn’t see it because it was hidden under many trees, i cleaned it and then suddenly i saw all these other trees that were also planted in a circle. somebody made this many years ago. from these discoveries i make a plan. but if i start in one place and i do one thing and then another thing it doesn’t become one experience.
cd + ak: so you must walk and experience the terrain and landscape before you begin designing…
tm: oh yes or else i can’t do anything….
cd + ak: if you could tell us a little bit about how you approach a site?
tm: i think it is very important to be in the place. before doing anything, you need to be aware of what is there and what that place wants you to do. i think it’s really the most important thing. it is something that one cannot overlook. you can’t design a project without spending time in the site because your design is empty without being connected with the place. for instance we are going to shanghai to design a project with a chilean architect. i told the client that i can’t think of something without first being there, even if it’s a patio inside a building. i could design it on the computer and create all the plans, but how can i understand what i want – or what the place wants – if i don’t know the landscape. so we have to go, just to breathe the air in shanghai, to know what we want to have there.
cd + ak: more and more, people work with photographs or on the computer in order to create a design.
tm: yes, people often work from photography. i would prohibit this. it happens so much that you go back to the studio, you do the plans, you do the work and then you start building. then you realize that you didn’t see that there was a hill that you could have put in the view. you have to be in the site.
cd + ak: you describe your design practice as being a tool which can completely immerse people in nature. how do you think that your work does this?
tm: not as good as i would like! because people are really difficult. i work in nature because it is not so serious. it’s not like if you were a medical doctor working in the intensive care unit where people are about to die. nature is all the opposite. everything is… very clear. we cannot say what it is though! it is very difficult to have people to get the feeling of immersion and to take advantage of what that means. of what nature means. i think the world is becoming so strict, we are so far away from what nature is and we need it to be alive. so now you will have anything at home to remind you of what nature is, even if its a pot of tomatoes.
cd + ak: would you say the artificial is becoming more natural, or that nature is becoming more artificial? for example parametric modeling that simulates natural growth patterns?
tm: it will never work. for instance the 3d computer, i don’t think it’s trying to become more natural i think it is trying to help you in building an artificial environment in a better way, using a better tool to work with. but it is still artificial, made using a better tool. so i think artificial has to go very artificial. it will never become natural and it cannot be in between these things.
– excerpt of the article a conversation with: teresa moller from kerb 19 – paradigms of nature: post natural futures
build a path
a young hare
[title + text] Daly, Caitrin, and Adrian Keene. “A Conversation With: Teresa Moller.” Paradigms of Nature: Post Natural Futures. By Caitrin Daly. Melbourne: Melbourne, 2011. 18-23. Print.
[images] i can’t remember where i came across these photos. but there are several nice ones from the landscape architect teresa mollers own website. well worth a visit.
“struggle can appear as a tension between representation and abstraction, and this can even said to describe the text of light, in which patterns of refracted light seen through a crystal ash-tray become metaphors for landscapes……the light we do see almost always seems to be set against darkness……..these momentary flickers that materialize tenuously out of emptiness.” – fred camper
20/08/2012 § 2 Comments
cameron gainer, luna del mar test photos (2009)
it must have been halfway between chicago and austin when i put down my book and started to stare out the window at approaching flashes of light. most of the other passengers were resting so the airplane’s main cabin was sparsely lit. each strike of lightening came in through the window crystal clear. the dark rural night sky rendered the ominous thunderhead entirely black and formless; the cells full form only appeared momentarily through lightening flashes.
i am really glad i had the time to see cameron gainer’s piece luna del mar at the walker before leaving town (thanks for the recommendation matt!). olympic synchronized swimmer luna del mar’s sillohouette occasionally develops in the foreground of a mass of bio-luminous water found in mosquito bay, puerto rico. at times it feels a bit like looking at a sonogram. the entire film is set to a piece of music by alex waterman. if you have the chance to see it, don’t miss out.
dead of night
a young hare
[title update] just came across this quote by fred camper (found at the art of memory), while searching information on stan brakhage. it seems way more appropriate.
[original title] the original title “communication between bacteria (quorum sensing) plays a role in the regulation of luminesence in many bacterial species. using small extracellularly secreted molecules, they are able to adapt their behavior to turn on genes for light production only when they are at high cell densities” comes from a wikipedia entry on bioluminescence.
[image] cameron gainer’s test photo was found on alex waterman’s website.
[more imperceptible made perceptible] ayh’s previous mention of jorge otero-pailos efforts seem appropriate.
“letting go of conceptual approaches, a series of abstract monochromatic images, shows the effect of a photochemical reaction of sunlight with hydrocarbons and nitrogen oxides that has been released into the atmosphere mostly by automotive emissions and industrial plants. a paradoxical image as we find beauty in polluted skyscapes.”
07/08/2012 § Leave a comment
jason mena, letting go of conceptual approaches (2003)
i wish i could see jason mena’s letting go of conceptual approaches in person. haunting concept.
a young hare
[title + images] not sure exactly where i first came across these images, but i found the title and some others from the series on triangulation blog.
[more invisible made visible] this reminds me of an old ayh post on mario reis’ works which consist of dipping a canvas into a stream and allowing the minerals and flowing water to paint a picture.
“due to political reasons he left the country in l976 and settled down in sao paulo, brazil. there he once again took up his work with metal sculptures and made different experiences involving photocopies, mail art, heliography, microchips, video texts, books of artists, etc. during l980/82 he made big maps, using letraset-letters – a system used by architects – which were reproduced in heliographies.”
30/07/2012 § Leave a comment
leon ferrari, heliogravures (c 1980)
this is worth repeating:
i felt it was a kind of provocation, recently, to run into a phrase from valery: ‘we must always apologize for talking about painting.’ indeed, there is something in painting that does not let itself be reduced to words, but it also true that we no longer believe in the purity of media or of languages, and so we keep on trying.”
– graciela speranza
this quote comes from another tumblr-esque post similar to the shades of blue which covered plan drawings. leon ferrari’s heliogravures would definitely be a perfect addition to that series of images.
keep on trying
a young hare
[title] the above title comes from leon ferrari’s own bio on his website. i highly recommend perusing his work.
[images] unfortunately i can’t give credit for where i came across these various images. it was done while trolling google images for leon ferrari.
“in english, magma is the ‘molten rock material within the earth from which igneous rock results by cooling.’ in spanish, it has an additional meaning: ‘thick substance that supports tissues or other inorganic formations, which remains after squeezing the most fluid parts out of them’ (remember that tissue and weave, in spanish are the same word: ‘tejido’).”
18/07/2012 § Leave a comment
maximo gonzalez, magma c – i (2010 – 11)
maximo gonzalez, magma cccl – i (2010 – 11)
maximo gonzalez, big magma ccclxx – i (2011)
“magma” pieces, by maximo gonzalez, have been made with “money paper that never touched anybody’s hands” (on the contrary of the previous work, that was all made with money out of circulation, which passed through thousands and thousands of hands before becoming part of the artwork).
this paper is the border of the bills (20, 50, 100 $, etc.) that was trimmed during the process of fabrication in the bank of mexico. this paper is normally destroyed. maximo rescued it, stuck it together to produce long threads, and weaved it in a loom constructed by him, based on the traditional looms of oaxaca.
the bar codes that can be seen in different parts of the resulting weave contain the full identification of the bills that come out in sheets during the issuing process: each sheet indicates nominal value, series, bill numbers, quantity in batch, everything to uniquely identify the bills contained in that production.
the color bars that can be seen at a closer look, are used for controlling the quality of the printing, alignment, and other security standards.
thus, all the information contained in the woven piece (“magma”) is the remainder of the bill which was detached from the sheet, approved for circulation, and introduced to everyday life.
before i had read the background story describing the material used in maximo’s pieces and seen his beautiful work in full view, mounted to the wall, i thought it would make a nice table cloth. the desire for maximo’s pieces to be introduced to everyday life as table clothes might just be a personal thing, since the pastels and patterning reminded me of the simple table clothes my grandmother used. it could also be related to the use of the loom, and the quotidian setting of the last installation picture above. personal anecdote aside, i highly recommend looking at the work of maximo gonzalez.
introduced to everyday life
a young hare
[title + images + text] it all comes from maximo gonzalez’ website. for more pieces made from money follow this link: right here.
[more paper on walls] this piece originally came to mind when looking at mathias goeritz’ installation at the camino real mentioned on ayh last week.
“(allan) kaprow downplayed the significance of formal structure and social commentary in favor of direct experience… if you don’t do the work, he seems to be saying, you can’t reflect upon its meaning.” – jeff kelly
17/07/2012 § Leave a comment
rolu, installation photographs for walker art center’s open field residency (2012)
helen escobedo, por las tortugas (1992)
okay, the last image of a helen escobedo piece is unrelated. then again, it could also be completely related.
before any more digressions, there is only one thing you need to know: TWIN CITIES AND MIDWESTERN FOLK! GO TO OPEN FIELD! below is a description of rolu’s residency programs, workshops, etc. check it out!
WE GAVE THIS PROJECT A TITLE: WHEN DOES SOMETHING… BECOME SOMETHING ELSE? THE APPARENT IS THE BRIDGE TO THE REAL. AS WE UNDERSTAND IT, A TITLE IS ALWAYS DIFFICULT. IT SETS FORTH THE PRESUPPOSITION THAT AN EXPRESSION MAKES SENSE, THAT THERE IS A LINK BETWEEN SEPARATE TERMS, WHICH ALSO MEANS BETWEEN CONCEPTS, PROBLEMS AND THEORIES WHICH SEEM AT FIRST SIGHT TO BEAR NO DIRECT RELATION ON EACH OTHER. BUT LET’S DO IT! OK? LET’S SUPPOSE THAT THERE IS A LINK! HERE ARE SOME EXPRESSIONS, TERMS, CONCEPTS, PROBLEMS AND THEORIES: WHEN DOES SOMETHING BECOME SOMETHING ELSE? ATTENTION AS PLACE / PRESENCE AS PERFORMANCE / DOING AS SEEING / MAKING AS THINKING / THE APPARENT IS THE BRIDGE TO THE REAL. WHAT IS A VENTRILOQUISM OF FORM? WHAT IS THE DIFFERENCE BETWEEN THE MEMORY OF SOMETHING I SAW PHYSICALLY AND SOMETHING I SAW IN A PHOTOGRAPH? WHAT IS WHOLENESS?
WE’LL LEARN FROM THESE THINGS IN WAYS NO ONE COULD’VE TAUGHT US.
– ROLU AFTER RANCIERE
returning to lowercase
a young hare
[title + images] today’s title was taken from their residency description here and the related photographs were taken from the rolu post announcing their arrival on the walker art center’s lawn. helen escobedo’s piece was caught a while back in the internets.
“the following things in the room were blue. the blue checks in the blue-and-black-checked shag carpet…. two of the unsettling attached lamps that kept its magazines unread and neatly fanned were blue, although the two blue lamps were not the lamps attached to the two blue chairs. dr. charles tavis liked to say that you could tell a lot about an administrator by the decor of his waiting room…. the premie violets in an asymmetrical sprig in a tennis-ball-shaped vase on the coffee-table were arguably in the blue family.” – david foster wallace 
11/07/2012 § 2 Comments
horace benedict de saussure, cyanometer (c1760)
misha de ridder, wissen brunnen (2009)
florian maier aichen, the best general view (2007)
unknown, maly semyachik (date unknown) (via)
fabian schuber, hank schmidt in der beek painting in the zillertal alps (2009)
merel van den berg, the marker project (2009)
yutaka yoshinaga, 96-c-5 (1996)
david ireland, folded paper landscape (1973)
guillermo kuitca, neufert suite (sausage factory equipment) (1999)
casa, hakuei residence (1996)
xdga, house in brasschaat (1990-92)
benthem crouwel, schipol airport (date unknown) (via)
photographer unknown, thierry mugler residence (1981) (via 2thewalls)
maarten van severen, blauwe bank (1997)
bas jan ader made a point of only wearing international klein blue. the color blue which artist yves klein patented and used through out his art works. sometime between learning about bas jan ader and yves klein i came across horace benedict de saussure’s cyanometer. horace created the cyanometer as a way of measuring the blueness of the sky in order to test a theory about the blueness of the sky being related to the moisture content of the air . then last week, while catching up on radiolab podcasts i found out that (broadly speaking) according to philologists, red is always the first color to appear in a human language and blue is (usually) always the last color to appear in a human language. weird. so i decided to make a tumblr of blue themed images. and inspired by horace benedict de saussure it presents a gamut of blues. blues captured by cameras, painted on to a surface, fading away, washing buildings, and coloring furniture.
what would you add? send ayounghare [at] gmail one or a few blue images . if there are enough responses i could make a second blue tumblr post.
what is it about blue?
a young hare
 wallace, david foster. infinite jest: a novel. boston: back bay books, 1996: p. 508 – 509. print
 for more on the topic of blue and horace benedict de saussure check out this article on the royal society of chemistry’s website.
 oh, the silly things we have to do to avoid spam bots.
[more series, more color] this marks the third time ayh has presented a tumblr post. previous posts involved the making of a plan and an ode to a gamut of reds inspired by the then pantone color of the year – honeysuckle.