jan de cock - museumdd.be 57_66_lr.pdf · 1307 tommaso chiaretti, l’avventura de michelangelo...
Post on 15-Feb-2019
217 Views
Preview:
TRANSCRIPT
Occupying the Museum 57 Jan De Cock
20710:28:57 am
_ _ _ _ _ _ q g
21911:05:44 am
_ _ _ _ _ _ q g
21010:32:32 am
recalls the distinctive dolly shots in Andrei Tarkovsky’s films inwhich the camera frame finds another framing device withinthe scene. A camera travels slowly past a window (such as theburnt out truck window in Stalker), or approaches and thenpasses through a door (like the back door of the childhoodhome in Mirror). Within the narrative context of these films,suspense is tinged with unspecified dread and/or wonder —such as one might feel in a dream. In the more open context inwhich a spectator navigates De Cock’s artworks, the purely for-mal aspects of such suspense come to the fore: it is the consis-tently fragmentary nature of these views that makes themintriguing. For the Romantics, the fragment stood for whatcould not be seen (what lay beyond the pictured window frame,or what the lone walker saw as he looked out across mountaintops). In a Romantic vein then, De Cock’s suspenseful structureis a device that illuminates snapshot details in order to drawattention to the wider frameworks of vision. Using filmicanalogies to frame our movements, De Cock prompts us toreflect on the nature of mobility and perception, and their linkswith desire and knowledge.
18510:16:23 am
GRIDS AND FRAGMENTS
_ _ _ _ _ _ q g
21411:03:44 am
_ _ _ _ _ _ q g
21511:04:08 am
_ _ _ _ _ _ q g
21811:05:20 am
_ _ _ _ _ _ q g
21111:02:32 am
_ _ _ _ _ _ q g
Occupying the Museum 58 Jan De Cock
Occupying the Museum 59 Jan De Cock
22111:09:04 am
1303 Temps Mort IX. Sunshine State, neg. NY_22_28, b/w print in wenge frame
1304 Denkmal 5-12-3, Minami Aoyama 5-12-3, Minato-ku, Tokyo, 2005
1305 Temps Mort IX. Long Island, neg. NY_30_17/18, b/w print in wenge frame
XXI
Encyclopedia Denkmal Volume I, Denkmal ISBN 9080842419, 2004, p. 249, 2:19:53 PM
16 bip Construction works of Vertigo or the Era of free Catalogues, in the framework of the exhibition Beeld in Park in
the Felix Hap Park in Brussels, 2000
15 bip Vertigo or the Era of Free Catalogues
04 bip Vertigo or the Era of Free Catalogues
14 bip Vertigo or the Era of Free Catalogues
17 bip Vertigo or the Era of Free Catalogues
13 bip Vertigo or the Era of Free Catalogues
12 bip Vertigo or the Era of Free Catalogues
11a bip Vertigo or the Era of Free Catalogues
10 bip Vertigo or the Era of Free Catalogues
09 bip Vertigo or the Era of Free Catalogues
07 bip Vertigo or the Era of Free Catalogues
06 bip Vertigo or the Era of Free Catalogues
05 bip Vertigo or the Era of Free Catalogues
04 bip Vertigo or the Era of Free Catalogues
03 bip Vertigo or the Era of Free Catalogues
02b bip Vertigo or the Era of Free Catalogues
02a bip Vertigo or the Era of Free Catalogues
01 bip Vertigo or the Era of Free Catalogues
11b bip Vertigo or the Era of Free Catalogues
08 bip Vertigo or the Era of Free Catalogues
1306 Temps Mort II, Vienna, neg. 1470_22-23, b/w print in wenge frame, see Volume I, p. 258, 2:27:48 PM
1307 Tommaso Chiaretti, L’Avventura de Michelangelo Antonioni, Paris: Buchet and Chastel, 1961
1308 Temps Mort IV. Munich, neg. 1471_12, b/w print in wenge frame. Haus der Kunst. The Glass Palace that burnt down
in 1931 was replaced by a neoclassicist temple, designed by Paul Ludwig Troost who was “the first architect of the
Führer”. The “Große Deutsche Kunstausstellung” took place in this museum. The “Entartete Kunst” exhibition
also took place in Munich in the same year on the second floor of a building formerly occupied by the Institute of
Archaeology. Viewers had to reach the exhibit by means of a narrow staircase. The rooms were made of temporary
partitions and deliberately chaotic and crowded. The contrast with the spacious rooms in the Haus der Kunst was
striking
1309 Temps Mort IX. Sunshine State, Everglades National Park, neg. NY_14_35, b/w print in wenge frame
1310 Temps Mort IX. Sunshine State, Juan J. Peruyero Museum, also named Bay of Pigs Museum, neg. NY_23_09, b/w
print in wenge frame
1311 Temps Mort IV. Munich, Haus der Kunst, neg. 1471_10-11, b/w print in wenge frame. The Glass Palace that burnt
down in 1931 was replaced by a neoclassicist temple, designed by Paul Ludwig Troost who was “the first architect
of the Führer”. The “Große Deutsche Kunstausstellung” took place in this museum. The “Entartete Kunst” exhi-
bition also took place in Munich in the same year on the second floor of a building formerly occupied by the Institute
of Archaeology. Viewers had to reach the exhibit by means of a narrow staircase. The rooms were made of tempo-
rary partitions and deliberately chaotic and crowded. The contrast with the spacious rooms in the Haus der Kunst
was striking
1312 Denkmal 2, Astillero Ascorreta 2, Pasajes San Pedro, San Sebastian, 2004
1313 Temps Mort X. Japan, Tokyo, neg. T_13_05, b/w print in wenge frame
1314 Temps Mort IX. New York, Museum of Modern Art, neg. NY_31_21, b/w print in wenge frame. Group portret of
11:16:11 amM O D U LE LXVI I
_ _ _ _ _ _ q g
21211:02:56 am
_ _ _ _ _ _ q g
21711:04:56 am
_ _ _ _ _ _ q g
21611:04:32 am
_ _ _ _ _ _ q g
21311:03:20 am
_ _ _ _ _ _ q g
23811:25:45 am
1370
1371
1372
1373
1374
1375
1376
1379
1377
XXVI
1378
1380
1381
13821383
_ _ _ _ _ _ q g
22611:16:11 am
1303
1304
1305
1306
1308
1307
1309
1311
13101312
13131314
1315
1316
_ _ _ _ _ _ q g
23111:20:13 am
1317
XXII
1318
1319
1320
13211322
1323 1324
1325
_ _ _ _ _ _ q g
Occupying the Museum 60 Jan De Cock
Occupying the Museum 61 Jan De Cock
Occupying the Museum 62 Jan De Cock
23711:25:30 am
1355
1356
1357
1358
XXV
1360
1359
13611362
1364
1363
1365
1367
1366
13691368
_ _ _ _ _ _ q g
23311:20:46 am
XXIV
4
36
1338
1339
1340
1341
1342
1343
1344
1345
1348
1349
1347
1346
1350
1351
1352
1353
1354
_ _ _ _ _ _ q g
23211:20:28 am
1326
1327a
b
c
1328
XXIII
1329
1330
1331
1332
1333
1334
1335
1336
1337
_ _ _ _ _ _ q g
22911:17:23 am
_ _ _ _ _ _ q g
20810:30:17 am
statement echoes Moholy-Nagy’s view of film as an articulationof ‘the vision in motion of a motorised world’.
Movement, we thus notice, is registered visually as perceptualdisplacement, and this can occur whether it is the viewer who ismoving, or the thing he beholds. This equivalence is demon-strated by the confusing sensation of movement experienced bya stationary train passenger when an adjacent train moves off.The illusion of movement in these cases is dependent on thesurrounding view being masked beyond the parameters of thecarriage window, as a wider view would supply reference pointsclarifying what is moving in relation to what. The view of themoving camera also masks its wider surroundings (in particularits own means of locomotion) so the relative positioning ofmoving camera and moving subject is always in play, and closecropping can give rise to ambiguity. For Arnheim, “[t]he oldeffect, namely the moving landscape, is arrived at from anentirely new starting point, and in the process the principle ofrelativity, on which the effect is based, is formulated explicitly:in motion pictures, movement is not absolute but always relat-ed to the station point of the camera”.14 A moving shot moreclosely resembles everyday vision than a static shot, certainly,but there is a distinction to be made between everyday visionfacilitated by virtually unconscious head movement (vision
18310:14:57 am
_ _ _ _ _ _ q g
22411:14:48 am
1326 Casa del Fauno, Atrium, Pompei Scavi, archaeological site
1327 a Denkmal 55, National Museum of History, Boulevard of the Martyrs for the Country, Tirana, Albania, 2003. Slide 22,
see Volume I, p. 267, 2:33:12 AM
1327 b Denkmal 55, National Museum of History, Boulevard of the Martyrs for the Country, Tirana, Albania, 2003. Slide 25
1327 c Denkmal 55, National Museum of History, Boulevard of the Martyrs for the Country, Tirana, Albania, 2003. Slide 06,
see Volume I, p. 267, 2:33:12 AM
1328 Denkmal 5-12-3, Minami Aoyama 5-12-3, Minato-ku, Tokyo, 2005
1329 Temps Mort VII. Moscow. Neg. 4038-12, b/w print in wenge frame. The Melnikov House is situated close to Old
Arbat Street in Moscow. Viktor Konstantinovich Melnikov, the son of the architect Konstantin Melknikov, is still
living in his father’s house today at the age of 92. In his will Viktor Melnikov has left the house to the Russian state,
on the condition that they create a House-museum in it and have it restored
XIII
Encyclopedia Denkmal Volume I, Denkmal ISBN 9080842419, 2004, p. 251, 02:21:36 PM
144 Victor Horta, Palace of Fine Arts in Brussels, Sculpture Hall, Cross section towards the big stairs (level of the
Ravenstein Street)
147 René Daniels, The return of the performance (De terugkeer van de performance), 1987
738 Yakov Chernichov, Petrovsky Alphabet. Paper, gouache and ink, 50,3 x 69,9 cm
782 Palazzina dei Mulini, Hall. Residence of Napoleon on Elba Island
578 Georges Vantongerloo, y = x - 11x + 10, 1935. Mahogany, 50 x 35 x 30 cm
359 Vertigo or the Era of free Catalogues, exhibition in W139, Amsterdam, curated by Jean-Bernard Koeman.
358 Vertigo or the Era of free Catalogues, exhibition in W139
357 Vertigo or the Era of free Catalogues, exhibition in W139
356 Vertigo or the Era of free Catalogues, exhibition in W139
355 Vertigo or the Era of free Catalogues, exhibition in W139
354 Vertigo or the Era of free Catalogues, exhibition in W139
353 Vertigo or the Era of free Catalogues, exhibition in W139
352 Vertigo or the Era of free Catalogues, exhibition in W139
382 Fons Welters walking back into the gallery after buying another four crates of beer
433 Vertigo or the Era of Free Catalogues, installation made within the framework of Beeld in park in the Felix Hap Park
in Brussels, 2000. The pavilion functioned as entrance party for the exhibition
434 Vertigo or the Era of Free Catalogues, installation made in the framework of Beeld in park
442 Installation view of Jan De Cock’s solo exhibition Vertigo or the Era of free Catalogues deel 1 in Argos, Werfstraat 13 ,
1000 Brussel
441 Installation view of Jan De Cock’s solo exhibition Vertigo or the Era of free Catalogues deel 1 in Argos, Werfstraat 13 ,
1000 Brussel
440 Installation view of Jan De Cock’s solo exhibition Vertigo or the Era of free Catalogues deel 1 in Argos
439 Installation view of Jan De Cock’s solo exhibition Vertigo or the Era of free Catalogues deel 1 in Argos
438 Installation view of Jan De Cock’s solo exhibition Vertigo or the Era of free Catalogues deel 1 in Argos
451 Booth of the Fons Welters Gallery at Art Cologne, designed by Jan De Cock
365 Photo taken by Jan De Cock as documentation on his exhibition Vertigo or the Era of free Catalogues that took place
in 2000 in ‘Centrum voor Beeldende Kunst’ in Dordrecht (Holland)
11:20:28 amM O D U LE LX IX
1322 Denkmal 2, Astillero Ascorreta 2, Pasajes San Pedro, San Sebastian, 2004
1323 Temps Mort X. Japan, Tokyo, neg. T_13_06, b/w print in wenge frame
1324 Temps Mort X. Japan, Tokyo, neg. T_13_07, b/w print in wenge frame
1325 Temps Mort IX. New York, Waldorf Astoria Hotel, neg. NY_08_18, b/w print in wenge frame
_ _ _ _ _ _ q g
23511:23:50 am
_ _ _ _ _ _ q g
22711:16:35 am
_ _ _ _ _ _ q g
Occupying the Museum 63 Jan De Cock
Occupying the Museum 64 Jan De Cock
24311:29:23 am
11:25:45 AmM O D U LE LX X I I
1356 Temps Mort VII. Moscow, Bank of the river Moskva, neg. 4067_22-23, b/w print in wenge frame, see Volume I, p.
291, 2:41:42 PM
1357 Jean-Luc Godard, Histoire(s) du cinéma. Le control de l’univers. Les signes parmi nous, 1998. Filmstill, see Volume I, p.
31, 8:54:05 AM
1358 Denkmal 5-12-3, Minami Aoyama 5-12-3, Minato-ku, Tokyo, 2005
1359 Denkmal 47, Stella Lohaus Gallery, Vlaamse Kaai 47, Antwerpen, 2004
1360 Jean-Luc Godard, Histoire(s) du cinéma. Le control de l’univers. Les signes parmi nous, 1998. Filmstill. La page cachée,
see Volume I, p. 31, 8:54:05 AM
XXV
Encyclopedia Denkmal Volume I, Denkmal ISBN 9080842419, 2004, p. 256, 2:25:26 PM
327 El Lissitzky, Of Two Squares: A Suprematist Tale in Six Constructions, 1922. Ed.: unknown (plus 50 hardbound, signed
and numbered), letterpress, 27,9 x 22,5 cm
343 Photo taken by Jan De Cock on the night of the opening of the exhibition of Dan Graham in the Kröller Möller
Park in November 2001. In the background you can see the museum building designed by Henry van de Velde and
two adjacent pavillions by Dan Graham.
745 Ludwig Mies van der Rohe, Barcelona Pavilion, 1928-9
731 Gerhard Richter, Exhibition in Museum Haus Esters in Krefeld (designed by Ludwig Mies van der Rohe between
1928 and 1930) and the Museum of Modern art in Frankfurt am Main
728 Joseph Beuys, Plate of yellow glass
733 Yakov Chernikhov, Graphic composition with an architectural theme, 1920’s, paper en color pencils, 11,8 x 12 cm
725 Donald Judd. View of the second floor of the former Marfa National Bank, Donald Judd’s architecture studio, Marfa,
Texas
769 Michael Asher, Palace of Fine Arts in Brussels, 1992
783 Palazzina dei Mulini, Study-Room of Paolina. Residence of Napoleon on Elba Island
795 Michael Asher, Installation Münster, contribution to Skulptur Ausstellung in Münster 1977 and to Skulptur Projekte in
Münster 1987, caravan in changing locations, 19 different sites in and around Münster, parking position of 1st week
823 Construction of the provisional facade of the Albertina Library on the Mount of Arts in Brussels
825 Construction of the final facade of the Albertina Library on the Mount of Arts in Brussels
824 The provisional facade of the Albertina Library on the Mount of Arts in Brussels, 1961
964 Henry van de Velde, Hoenderloo Museum (Holland), 1921-1929. East facade
1008 Jean-Luc Godard, Histoire(s) du cinéma. Le control de l’univers. Les signes parmi nous, 1998. Filmstill
1361 Temps Mort IX. New York, Metropolitan Museum, neg. NY_03_09, b/w print in wenge frame. Emile Antoine
Bourdelle, Herakles Archer. The archer is one of Bourdelle’s most famous sculptures and brought him international
recognition when first exhibited at the 1910 Paris Salon. It was inspired by the archer on the Temple of Athena at
Aegina
1362 Jean-Luc Godard, Histoire(s) du cinéma. La monnaie de l’absolu. Une vague nouvelle, 1998. Filmstill. Une forme, see
Volume I, p. 225, 2:24:15 PM
1363 Jacques Belmans, Cinéma et Violence, Mons: La Renaissance du Livre, 1972
1364 Denkmal 2, Astillero Ascorreta 2, Pasajes San Pedro, San Sebastian, 2004
1365 Temps Mort IX. Sunshine State, Juan J. Peruyero Museum, also named Bay of Pigs Museum, neg. NY_23_17/18, b/w
print in wenge frame
1366 Construction Module M24-D15-17022005 L. Exploded view
1367 Temps Mort IX. New York, Waldorf Astoria Hotel, neg. NY_08_22, b/w print in wenge frame
1368 Jean-Luc Godard, Histoire(s) du cinéma. Toutes les histoires. Une histoire seule, 1998. Filmstill. The world, see Volume
I, p. 78, 10:40:01 AM
1369 Temps Mort IX. New York, Whitney Museum, neg. NY_27_14/15, b/w print in wenge frame
_ _ _ _ _ _ q g
25011:37:05 am
entire civilisation breaks apart to form another kind of order. Afilm is capable of picking up the pieces”.22 Smithson suggestedthat artists in the 1960s sought to ‘frame’ abstract culturalframes, to make these frames visible, and at the same timeproblematise faith in them as abstractions by replaying themwithin the transient and arbitrary frames of cinematic film.
De Cock offers a similarly self-conscious framing of contem-porary cultural frames in an artistic practice that acknowledgesthe increased ubiquity of film and virtuality since Smithson’sera. In the case of Denkmal 7, what we might call the ‘grids andgeometries’ of film itself, as well as the architecture of a par-ticular site, are conceptually echoed, literally framed and thussculpturally highlighted. De Cock’s futuristic ruin is a mise-en-scène that stages the disjunctive and transient nature of percep-tion and makes it visible. Our current culture’s abstractions andframeworks emerge — partially excavated — in the splinteredviews and kaleidoscopic reflections playing across the surfacesof the dazzling monolith.
19110:19:38 am
_ _ _ _ _ _ q g
24711:34:07 am
ry, each one manifesting a divergence”. 17 Nietzsche protestedagainst the formal apparatus of classic perspectivism whichguaranteed “the possibility of disengaging, of switching fromone point of view to another”.18 He objected to the idea thatthe world existed objectively, that different views of it must beconsistent with each other and thus the whole might be recon-structed from any combination of angles. This amounts to anillusory abstraction, while disjunctive and disorienting imagesmay give the viewer a glimpse of the ‘polymorphic’ or undif-ferentiated real (ie the real before the brain has ‘ordered’ it),exposing and disrupting the habitual imposition of perceptualorder that Nietzsche mistrusted.
In one of the early scenes of Jean-Luc Godard’s Alphaville, afeeling of disorientation is established when both the camera(which has adopted the protagonist’s point of view) and thevarious doors in the hotel entrance, lobby and lift are set inmotion, all at once. The reflective expanses of glass and slidingchrome doors cause successive displacements in their sur-roundings that make the scene difficult to decipher. This scenerecalls another in Murnau’s The Last Laugh, where a camera(which has been mounted on a bicycle) enters a lift, anddescends into the entrance hall of a grand hotel. As it travels,Gilles Deleuze remarks in Cinema 1, the camera performs
18910:18:38 am
_ _ _ _ _ _ q g
24611:33:43 am
_ _ _ _ _ _ q g
24211:26:43 am
_ _ _ _ _ _ q g
25111:37:48 am
_ _ _ _ _ _ q g
25411:40:36 am
Notes1. De Cock’s various Denkmäler thus recall two divergent art historical models: the two-dimensional side views resemble the abstract compositions of Piet Mondrian, while thethree-dimensional serial components invoke the systematic industrial progressions ofDonald Judd. References to Mondrian’s universalist modernist vision are thus broughtinto productive tension with Judd’s intent focus on the here and now: 1920s Neo-Platonism and ‘spirit’ vie with 1960s Pragmatism and the concrete ‘object[0]’.[0]2. Paul Virilio, Polar Inertia (trans. Patrick Camiller), London: Sage, 2000, p. 72.3. László Moholy Nagy, ‘Space-Time Problems’, in Richard Kostelanetz (ed),Esthetics Contemporary, Buffalo NY: Prometheus Books, 1989, p. 69.4. Moholy Nagy, ‘Space-Time Problems’, p. 73.5. Chris Dercon, ‘A Completely Different Idea, Elsewhere’, in Jan De Cock.Denkmal ISBN 9080842419, Brussel: Atelier Jan De Cock, 2004, p. 65.6. Ian Chambers explains how a cinematic model might come to determine aspectsof visuality more broadly: “As a language, as an economic and cultural institution, away of picturing and enframing the world, cinema contributes to the making of thevisualscapes, soundscapes and culturalscapes in which we move [...]. This perhapssuggests that we should [...] consider cinema as one of the languages we inhabit,dwell in, and in which we, our histories, cultures and identities are constituted[...].Languages, whether literary, cinematic, musical or verbal, and even if often depend-ent upon quite precise techno-cultural systems, are not turned on and off by theflick of a switch. They persist and permeate our world. They ghost our presence andcirculate beyond our individual volition. As part and parcel of the ecology of ourlives, they exist prior to our knowing and this informs our being and becoming.They are irreducible to a medium or technology. They are part of our understand-ing”. See Iain Chambers, ‘Maps, Movies, Music and Memory’, in David B Clarke(ed), The Cinematic City, New York: Routledge, 1997, pp. 230-231.7. Virilio, Polar Inertia, p. 27.8. Virilio, Polar Inertia, pp. 20-21.9. André Bazin, What is Cinema? (trans. Hugh Gray), Berkeley and Los Angeles:University of California Press 1967 p 166
19210:20:02 am
_ _ _ _ _ _ q g
23911:25:56 am
XXVII
1384
1385
1386
1387
1388
1389
1390
1391
1392
1393
_ _ _ _ _ _ q g
Occupying the Museum 65 Jan De Cock
24511:32:27 am
_ _ _ _ _ _ q g
24811:34:31 am
_ _ _ _ _ _ q g
24011:26:05 am
1394
XXVIII
1395
1396
1397
1398
1400
1399
1401
_ _ _ _ _ _ q g
25311:38:36 am
_ _ _ _ _ _ q g
25211:38:12 am
_ _ _ _ _ _ q g
24111:26:19 am
8
1402
1403
1405
1406
1409
1408
1407
XXIX
14101411
1412
1413
1414
1404
_ _ _ _ _ _ q g
Occupying the Museum 66 Jan De Cock
top related