UNGUIDED TOURS - PHOTOS

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UNGUIDED TOURS
09.05.07 19-22h

an exhibition in transit by

ISABEL CORDEIRO
HUGO MOLINE
KENZEE PATTERSON


transit lounge
Josetti Höfe
Rungestr 22-24
Berlin-Mitte
entry via riverside path

UNDERSCORE - PHOTOS

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RE CONSTRUCTION DECONSTRUCTION RECONSTRUCTION

transit lounge exhibition
UNDERSCORE

isabel cordeiro
jasper knight
kenzee patterson
jodi rose
isabelle toland

thursday april 26 2007 19:00-22:00


Underscore is an exhibition comprising five international artists who have each been participating in the Transit Lounge residency at Josetti Höffe, Berlin. For this show, the artists have been working collaboratively and individually on a series of new works reflecting on their experiences of Berlin, while also addressing the theme of the residency, "transit." The resulting sound, installation, and video works explore marginalised spaces and discarded objects. In this case, the underscore serves to underline the spaces in between, the ignored and the unnoticed. In a reconfiguration, the familiar and the preconceived are conflated with the lost and forgotten.

26.04.07 19-22:00 UNDERSCORE

on representation vs. reality

before anything, a short text that inspired me to participate in the Transit Lounge:

"In that Empire, the craft of Cartography attained such Perfection that the map of a Single Province covered the space of an entire City, and the Map of the Empire itself an entire Province. In the course of Time, these Extensive maps were found somehow wanting, and so the College of Cartographers evolved a Map of the Empire that was of the same Scale as the Empire and that coincided with it point for point. Less attentive to the Study of Cartography, succeeding Generations came to judge a map of such Magnitude cumbersome, and, not without Irreverence, they abandoned it to the Rigors of sun and Rain. In the western Deserts, tattered Fragments of the Map are still to be found, Sheltering an occasional Beast or beggar; in the whole Nation, no other relic is left of the Discipline of Geography."

Jorge Luis Borges, From "Of Exactitude In Science", A Universal History of Infamy.

my thoughts come next.

Trained both as an architect (graduated from Architecture University of Lisbon, 2000) and as an artist (finished MA Fine Arts, Piet Zwart Institute in Rotterdam, 2006) the works I produce are investigations on the possibility of enhancing hidden dimensions of space.

This means to acknowledge the relation between the potential embedded in physical space to arouse different/multiple/infinite perceptions of the same space, and our inbuilt mechanisms of perception and assessment of reality; the intricate interaction between both is, in my view, responsible for the emergence of those recondite territories. In other words, I work with the principles of intuition and discourses, which act upon the body in actual space.

Within this framework I have developed the notion of constructive paintings to investigate the potential of painterly representations to challenge architecture, by mobilizing its strength to construct and deconstruct space, both physical space and represented space. Painting has the power to alter/subvert the properties of the built environment: a wall, which is known to be a solid element can be liquefied by means of painting. I work with both painting and constructive materials as media that allow from embodied, to fluid, to barely visible existences; from explicit presence to invisibility.

At the same time I approach painting as a constructive process similar to building architecture, from a two-dimensional design to an object. I explore this issue by defining a process of building images by layering. The layering process starts by defining representations of space (computer 3D images, topographic maps, etc.), developing further until it becomes tactile (painterly surfaces), achieving the character of substance (objecthood).

Painting, more then a form of mimicking reality, renders visible potential realities. It does so in a logic of its own but not disconnected from reality. I see painting as a form of legitimizing the existence of spaces beyond the physical spatiality we might inhabit. The surface of the picture plane works as an independent ontological territory that attests for the credibility of the places I ‘build’.