In the Japanese linguistical context, the concept of“disintegration” (解体) has connotations of demolition; and in the vocabulary of painting, a “sketch” applies skills of drawing to create three dimensional forms on two dimensional materials. The foundational exercise of drawing is typically used to hone design abilities and detailed observation, or as a method of organizing, drafting, or collecting materials before creating art. Here, it becomes a sort of plan for performance impetus and suggested perspective for action.
In our living systems, spaces are constructed through various symbolic, referential, and functional frameworks; however, multiple spatial properties converge (here) at C-LAB: including research, military, historical, social, cultural, and lifestyle functions. The layered and heterogenous spatial character of C-LAB imparts the space with open, polysemous, and even ambiguous connotations. For instance, a urinal in a museum display is immediately recognized as art, but if displayed (here) at C-LAB, how is it defined by that space? If a theater space is created when a person walked across a space designated as a stage under the gaze of the other, is the theatrical gaze possible in any real-world space?
In other words, how does a space in turn define the individuals, events, or objects within it? If the declarations and intentions of a space are not designed or constructed according to the above described functions, what is its relationship with human beings within the contemporary user experience of these site transformations vis-àvis the true, material, and objective perception of the condition and state of that space? How can we experience this space? What are we gazing at in this space? And how or why does this occur?
On-site/site-specific action and performance conjure the audience’s perception and recognition for this time and place, and propose a defined case study and potential vista at present for here, in an attempt to shape how a comprehension of sensibility and cognition through spatial construction and material updates/reveals/states the potential dimensions that haven’t been entered.
Time and Venue:
11/21 (Sat.) Afternoon, Outdoors
11/22 (Sun.) Afternoon, Outdoors