Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

LANDSCAPE_THE ARCHIVE_AND_ESCAPE

2,170 views

Published on

© Klaus Hu 2013/15
and 2012/13

Published in: Education, Technology
  • Be the first to comment

  • Be the first to like this

LANDSCAPE_THE ARCHIVE_AND_ESCAPE

  1. 1. KLAUS HU The Absent Landscape  / Unsettled Landscapes Historical!and experienced landscapes. Photographs of the archive are juxtaposed as negative b/w!and digital images of the residence stay at the Santa Fe Art Institute in New Mexico in March / April 2013.!The landscape of the American South West appears as an ambient room as visual language of lived time. As visual translation, these opposites merge into a symbiosis. Do I imagine landscape or does landscape reflect on me? Is landscape a romantic topic of escape,!"inspired" by infinity or is it an ecological disaster? While landscape was subject to the will and spirit of the late baroque period in European tradition and degraded to geometric alignments of the nobility, the romantic period of the 19th century projected!the "soul" of the author / artist on / into the canvas, and thus into / onto the real landscape. Sometimes landscape disappeared as a longing as in Caspar David Friedrichs paintings.!At the beginning of the 20th Century modernity opens the bridge to!non-European traditions,!without examining in detail the various notions of landscape, the self, the projection, the ritual and transformation.!Only the ignition of the first Atomic bomb in 1945 in New Mexico threw an image on the dichotomy of dissolution versus unity!(of the self).!The result was the counter-movement and the awakening of the 60's generation.! But everything vanished into a daydream.!Another 40 years later, after several financial and ecological crises and disasters, the exploitation of resources by transnational corporations, wars of intervention, after 9/11, looking at "LANDSCAPE" is probably a marginal subject.!While land-art of the 60's in America was dependent!(and still is - see Michael Heizer)!of immense production budgets of the Foundations,!landscape submerged as backdrop into!the popular context. Landschaft / Das abwesende Signifikat Historische und erlebte Landschaften. Fotografien des Archivs stehen analogen schwarz- weiß und digitalen Aufnahmen gegenüber, die während des Residency Aufenthaltes am Santa Fe Art Institut in New Mexiko im März/April 2013 entstanden sind. Die Landschaft des amerikanischen Süd-Westens als weiter umgebender Raum wird zur BildSprache von gelebter Zeit. In der malerischen Übersetzung vermischen sich diese Gegensätze zu einer Symbiose. Denke ich Landschaft oder denkt sie mich? Ist sie in der romantischen Vorstellung eine Flucht, "beseelt" von Unendlichkeit, oder ist sie eine ökologische Katastrophe? Während Landschaft in der europäischen Tradition dem Willen und dem Geist des Spätbarock unterworfen und zu geometrischen Fluchtlinien der Adligen degradiert wurde, projizierte die Romantik Ende des 19. Jahrh. die "Seele" des Autors/Künstlers auf / in die Leinwand, und damit in / auf die reale Landschaft. Manchmal entschwand sie auch im Jenseits einer Sehnsucht wie bei C.D. Friedrich. Zu Beginn des 20. Jahrh. öffnet die Moderne die Brücke zu nicht europäischen Traditionen, ohne die verschiedenen Vorstellungen von Landschaft, dem Selbst, der Projektion, dem Ritual / der Transformation näher zu untersuchen. Erst die Zündung der 1. Atombombe 1945 in New Mexico warf ein Bild auf die Dichotomie von Auflösung versus Einheit (des Selbst / des Subjekts). Die Folge war die Gegenbewegung und der Aufbruch der 60-iger Generation. Doch alles verflog in einen Tagtraum. Weitere 40 Jahre später, nach mehreren Finanz- und ökologischen Krisen und Desastern, der Ausbeutung der Ressourcen durch transnationale Konzerne, Interventionskriegen, nach 9/11, ist der Blick auf "LANDSCHAFT" scheinbar ein marginaler (Blick). Während die Land-Art der 60-iger Jahre in Amerika von immensen Produktionsbudgets der Foundations abhängig war (und immer noch ist - siehe Michael Heizer), taucht Landschaft hie und da im populären Kontext als back drop auf. 2013/15
  2. 2. news BOOK hardcover limited edition of 25, signed! 100 pages / 116 photos some full page! size 8 1/2 " x 11" / 21,59 cm x 27,94 cm! 140 !" including VAT / MwSt / plus costs for shipping from Sept 2013 on available BOOK / NEW MEXICAN TRAVELS 2013 a photographic research into the vast expansive landscape of New Mexico, USA,! made possible during residence stay at Santa Fe Art Institute in March/April 2013. While site-specific attempts were lingering in the back of my mind, recalling Nancy Holt, Robert Smithson and Bruce Nauman, I experienced a slow, but vast expansive landscape, full of contradictions and full of colonial and cultural clashes, that emptied my mind and my eyes from preconceptions, making me drive out into the unknown, while on stay. What I experienced was a mix of reservations, clinging to casino build resorts for income, the hispanic community living side by side of the old spanish settlers and their decedent followers, all reclaiming own territories and land, while some towns of the 60´s communities are driven to tourism and real estate sales. New Mexico is the state of the first atomic bomb explosion and of dry high altitude with mountains, valleys and resorts. Being on my own, I enjoyed a photographic research,!that can be called an artists journey, discovering a vast expansive landscape.
  3. 3. On Landscape The Archive And Escape 2012/13 by Klaus Hu presented at Santa Fe Art Institute, Santa Fe, New Mexico March 2013
  4. 4. On landscape, the archive and escape. by Klaus Hu. (Klaus Hu is an artist / researcher working within studio based practice and for site- specific concepts and currently researches maps and cartographies, invited for Santa Fe Art Institute Residency Feb/April 2013) I What is landscape today? What is an archive? Close to my eyes and far away in the distance, I see a void, a horizon of infinite stories, zooming back and forth like a flickering whirlwind. The archive [16] and its multiple references are at one point static, from another perspective, begin to move and linger in the back of my mind. This static and at the same time revolving memory provides source and inspiration and expects to be fed like a hungry child. Handling the archive as an experiential container, selecting and judging, re- orchestrating its elements into unexpected relational nodes, rendering its ´facts" and ´objective truths´ into fictitious elements to construct another reality. This reenactment of archival research and recombination provides the same joy, as dealing with color on the canvas. The topic ´landscape´ used in painting for several hundred years, whether as historical, political, social, economic, cultural or as romantic topic has failed for todays global unrest and unease. The topic has to be emptied out like a void. While I research the database of NASA's martian rover "Spirit", landscape as data transfer and as uninhibited territory becomes a projection either as fictive or as real vision of how the future may interact with its presence. Looking at martian landscape evolves an escapist attitude, echoing back Robert Smithsons land art projects and his sci-fi obsessions. It distances its metaphor as untouchable realm for todays human visions and clings to a near future may be out of touch or in touch. And this touch of a ´may be´ near future of uninhibited landscape, implies a subjective view on territory seemingly erased of psychological conflicts. This opens a critical approach towards landscape, echoing multiple references from "Space, Site Intervention", by Erika Sunderborg [1] , across "The Beaten Track" by Lucy Lippard [2] , "Site-specifity, The Ethnographic Turn" by Alex Coles [3] , across Michel Foucault "Les Hétérotopies" [4] towards "Rethinking The Map" by Dennis Wood [5], from Alighiero Boetti "Mappa" [6] project towards Irit Rogoff "Terra Infirma" [7] and re-combinations, that combine artistic practice with research inside the global forum and inside the archive.
  5. 5. The martian landscape opens a possible spiritual projection, which artistic practice and critical discourse has neglected and forbidden for almost 50 years, since Greenbergs evaluation of modernism. The emptied landscape (of identity and of national heritages) denies any colonial interest (but admits, that the search for resources may play an essential part in current space missions). It thus presents a multiple fold of phenomenological views, and connects Merleau Ponty's [8] "The Visible and the Invisible" with Henry Bergson's "Matter and Memory" [9] as a model of escapist notion, of projection, of memory and of phenomenology. Intuition and Instinct, landscape and projection, the void and the single self are possible recombinations as outcome of looking at martian landscape and as possible interior screen. II TURTLE ISLANDs. A SHIP NAMED ODYSSEUS. Fiction and science-fiction have been capable of envisioning worlds, with the negative effect, that some have drawn an apocalyptic or technoid scenario. Robert Smithson [10] had a deep interest in science-fiction. He connected it with site, territory and images, that drew a future impact for possible alien visitors. He also had an idea of how to juxtapose the american industrial landscape with his vision of territory and fiction. In "Hotel Palenque", not only the decaying hotel is playing a role model and delivers a scenario, but also the turtles, he found at the entrance of this unfinished building are metaphors of a n-dimensional timeframe. It is comparable to a search for traces. His anarchic sci-fi also constructs a prenatal condition inside mythical time for himself and the viewer. Other artists, like Jan Bas Ader [12] choosed voluntarily or involuntarily to disappear during a sailing trip. Sonic Youth proclaimed "The Disappearer" [11] 1990. Aboriginal artists were dreaming their honey ant dream [13] dOCUMENTA 13. For all of them (except Sonic Youth), territory and land speaks and spoke for itself. And that may be the vision. Choosing a territory, that is outside of ones own. Or inside a dream. Dreaming the land. ,
  6. 6. III MAPS On symbolic language. What is a map? The american universe [14], the european universe. Two different perspectives. Two different rerpresentations. While Center for Landuse (http://clui.org) [15] offers an alternative view and interaction on mapping, models of the laboratory in Europe are either linked to city-planning and corporate needs (Guggenheim Lab), or are experimenting with collective models (http://raumlabor.net), that are dependent on public funding. On the one hand, artists like Andrea Zittel connect collective living and production with the gallery system, to gain financial support (http://highdeserttestsite.org). On the other side, most of the models of collective living and production or research are excluded from the gallery system, compensated and positioned via extensive online media presentation and social networks. What is the symbolic language? What are the visions, that connect these singular and collective models for the future? MAPS and cartographies While "the process of globalization results in a diversification and multiplication of spaces, that are subject to new configurations and specific expansion and contraction processes, the rise of inequalities, consequently, the linear and serial space that determines our imagination as the basis of traditional map work melts away. This (also) requires new forms of symbolic representation.” "Nations states appear as a type of container,...., reflecting a 19th century constellation of states" [17] , ....while lines of trade are being made visible. What is the weather Forecast transgressing Rivers and Borders? There are some examples of this analysis provided by Antonia Hirschs works, e.g. “Average Country” of 2006, “Forecast” 2005 and “Blot” 2000, working with processes of erasure, but remaining defiantly impersonal in displacing the familiar “world as map”. In other works like “Artnews Top 200”, she only shows these countries, that according to Artnews magazine are home to influential art collectors. [18] Artists having worked in the 70s and 80s, like Marcel Broodthaers and Alighiero Boetti have shown earlier the unease of upcoming globalization (see: Alighiero Boetti / Mappa del Mondo and M. Broodthaers / The Conquest of Space: Atlas for the Use of Artists and the military 1975). Whereas these historical lines inform current debate and irritation, more and more fostered by social networks online, few archives remain as searchable databases eg.www.clui.org / Center for Landuse Interpretation, offering an alternative view on geographical and historical mapping and access. Newer databases, like the NASA ś image database on Space missions provide an escapist and distancing beauty, compensating the lack of differentiation needed on earthly and human matters, opening a narrow black hole (of escapism) on neoliberal globalization, Fordist capitalism and Taylorist mass production.
  7. 7. Lit/References: [1] "Space, Site Intervention", Erika Sunderborg, University of Minnesota Press, 2000 [2] "The Beaten Track" Lucy Lippard, The New Press, NY 1999 [3] "Site-specifity, The Ethnographic Turrn" by Alex Coles, Black Dog Publishing Ltd [4] "Les Hétérotopies", Michel Foucault, INA, Paris, 2004, 1966 [5] "Rethinking The Map" by Dennis Wood, The Guilford Press, 2010 [6] "Mappa" project Alighiero Boetti, Ed. Luca Cerizza, Afterall Books, 2008 Sauzeau, Annemarie: '100 Notes – 100 Thoughts No. 025', dOCUMENTA (13), Hatje Cantz Verlag, Kassel. [7] "Terra Infirma" Irit Rogoff, Routledge , London, 2000 [8] "The Visible and the Invisible", Merleau Ponty (1961), Trans. A. Lingis. Evanston: Northwestern University Press, 1969 and "Phenomenology of Perception" (1945), Trans. C. Smith. New York: Routledge & Keegan Paul Ltd, 1962. [9] "Matter and Memory " Henry Bergson 1896: "Matière et mémoire. Essai sur la relation du corps à l´esprit." Alcan, Paris dt: Materie und Gedächtnis. Eine Abhandlung über die Beziehung zwischen Körper und Geist. Übers. Julius Frankenberger. Diederichs, Jena 1908, Nachdruck dieser Übersetzung mit einer Einleitung von Erik Oger, Meiner, Hamburg 1991 [10] "Collected Writings / Gesammelte Schriften" Robert Smithson, ed. Eva Schmidt, Kai Völckler, Kunsthalle Wien, Verlag der Buchhandlung Walther König, 2000 [11] "The Disapperer" on "Goo" by Sonic Youth, Geffen Records, 1990 [12] Jan Bas Ader / see Jan Bas Ader via Kunstverein Braunschweig, 2000, publication "Implosion" [13] "Der Honigameisentraum" (The Honey Ant Dream) inside dOCUMENTA GUIDEBOOK, 2012, on Doreen Reid Nakamarra p.112, & Warlimpirrnga Tjapaltjarri, p. 126 [14 " The Map as Art ", Katherine Harmon, Princeton Architectural Press, 2009 [15] Center for Landuse: http://clui.org [16] "The Future Archive" at NBK, 3.Juni - 29. Juli 2012, MIT CAVS, curated by Ute Meta Bauer, via http://nbk.org [17] Joachim Hirsch / based on a text first published by 69pender Gallery, Vancouver Canada, © Joachim Hirsch, May 2005 Joachim Hirsch is prof. emeritus at Political science at the J.W. Goethe University in Frankfurt, Germany [18] Antonia Hirsch / Artist / researcher / writer / Canada / Berlin co-publisher of Fillip / Canada. "The world map project"/ http://antoniahirsch.com/projects/maps/1 http://antoniahirsch.com/projects/untitled-world-flag/1 contact KLAUS HU Studio Berlin: Wildenbruch 77 12045 Berlin! tel 49.(0)30.68081524 klaushu@yahoo.de mobile: 49.(0)176.87577269 Skype: skypeklaushu BLOG: !http://klaushu.blogspot.com MARS c/o ArtistsSpace NY: http://local-artists.org/users/klaus-hu CV c/o ARTNEWS: http://artnews.org/klaushu

×