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where in her work
appears somewhat
technologically anachronistic. Seen from the present time - we are at
the beginning of the 21st century - there is another engagement here
than the one Harald Szeemann
related to Michel Carrouges with when
Szeemann arranged his first exhibition in order to tackle the
dispute with machines in the twentieth century and their
psychophysical and psychoanalytical principles. I
emphasize this today because when I was a young art historian I
had to struggle with the results of this attraction that this approach
had and possibly still has. But meanwhile the circumstances in the art
scene dominated by men has changed by the presence of numerous female
artists and researchers, by that the focus has changed also. Still one
has to point out that the machine models by Marcel Duchamp and Francis
Picabia are basic. I mean this in the sense of their
being models and that is why they can be referred to also as
mental machines in the sense of Deleuze/Guattari.
Besides that females engineers, female natural scientists, as well as
female artists generate continuously new blueprints of our mental
condition.
Was the daughter born without mother - thus the machine that without own engine could leave its production site - inspired by males and mesmerizing for the surrealists - so it is nowadays possibly more in the way Judith Buttler saw it (Bodies that Matter, New York, 1993, pg. 24 ff): about the process of the materialization that gives advantage neither to the natural nor the social when creating form, that can also be constructions of gender. Butler's research namely doesn't have to be confined to this field but can also be transferred onto other morphological processes. 5. How does the thought flash appear in the room? At the end I want to aim your attention yet again to working with models, constructions of a 5th dimension and breaking. How does a model evolve? For what reason does it come about? How does the imagination of something get on to a sheet of paper or in |
the
room? How does the shadow of thinking and imagining end up on a
sheet? And what anyhow is the shadow of that ends up on a plain?
Maybe
the works do not cast any shadow anyways as the the
headline of the 5th Berlin Biennale of Creative Arts "When things cast
no shadwo" implies. Lets say it is about a flash of thought about an imagination that happens like in a dream with extreme speed of the synapses firing - namely the connections between the cells of the brain - then every work with a drawing pencil has to be understood as the brake power. So when a drawer - be it an artist, an engineer, inventor or scientist - puts an idea down on paper or on screen then this short intuitive moment is thus prolonged eternally, it is strechted and one can also say it is slowed down, simply because the passage of the nerv impulses that leads to the complex movement of a hand takes longer than the production of an imagination. A flash of a thought is possibly not even a picture but an impuls that is interpreted by a person who thinks in pictures as a picture, whilst musicians or scientists draw some quite different conclusions from an idea. Maybe we can agree on it being a sculptural kind of work when a thought or idea is put down in the form of a drawing or a model. So to get to the model at this point I am first taking a detour via the drawing. When creating a drawing it is about a convention already. Not everybody can put down his or her thoughts like that, there are many people that express their dreams rather in words, notes or in mathematical phrases. In order to make the written communicable rules of the language used have to be known and mastered. It is no different with drawings: To produce them to be communicable asks for the knowledge of rules of for example those of perspective or in technical drawings the knowledge of the functions of electronic building parts and their symbols. No different in architecture. Before the imaginations of rooms can be concretized the building blueprint asks for true to scale information about size relations, the parameters and resilience of building material and so on. In the sense of surrealistic automatism a shape can evolve without that a |
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Almut Grypstra
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