Falke Pisano
26 Mar - 01 Apr 2011
FALKE PISANO
26 March - 1 April, 2011
‘Beyond post-modern referentiality or know-it-all self sufficiency, Pisano’s work maps the production of presence/performance in the encounter with a structure (contemporary art) that constitutively demands presence, enunciation and affect from its consumer.” Max Jorge Hinderer
Next to this film program the essay Object Lessons on Pisano’s work by André Rottmann (Texte zur Kunst) will be presented.
Two major concerns structure this essay: on the one hand it tries to explore how Pisano’s practice sets out to reconsider central tenets of aesthetic modernism, especially the notion of abstraction as a universal language. On the other hand it discusses the diagram as the decisive counter-trope of Pisano’s lecture performances, texts and installations, yet argue for its critical and transformative relation to models of pedagogy in the arts at large. The essay is published by Extra City Antwerp.
STUDIO LECTURE 1 – 2006 DVD (42 min.)
CHILLIDA (FORMS & FEELINGS) – 2006 DVD, 2 channel (14 min.)
A SCULPTURE TURNING INTO A CONVERSATION (PART ZERO AND PART ONE) – 2006 two-channel video installation (each 25 min.)
THE COMPLEX OBJECT (Affecting Abstraction 3)– 2007 DVD (19.15 min.)
STUDIO LECTURE 1 – 2006 film (42 min.)
In this lecture a number of ideas revolving around (abstract) objects and their existence are outlined. Departing from two questions (How can an object exist in different conditions? How can I formulate a possible existence that can be articulated as an object?) the following issues are mentioned: Objects as concrete objects, and especially as abstract sculptures, objects as abstract constructions proposing a concrete existence, perception and interpretation, imagination and (dis)placement of an abstract sculpture, alchemy, the interaction between a sculptor, a sculpture, a place and a spectator, the analysis of two abstract memorials for Martin Luther King, the three Broken Obelisks by Barnett Newman, the sculptures of Eduardo Chillida and the photographs of these sculptures by David Finn, a sculpture turning into a conversation, the dense object, a performance by the Greek sculptor Takis and the poet Sinclair Beiles entitled L’impossible, un homme dans l’espace (The Impossible: Man in Space), atom bombs turning into sculptures.
CHILLIDA (FORMS & FEELINGS) – 2006 film, 2 channel (14 min.)
This video is a personal account of Pisano’s emotional reaction on the series of photographs taken by David Finn of sculptures by the Basque sculptor Chillida. While going through the pages of the photo-book she tries to trace the relationship between the characteristics of these specific objects, their depiction, the experience of the photographer and his daughter and her own preoccupations concerning existential matters and her emotional response: “[...] I looked again at the sculptures and slowly I started to suspect something else was going on. I couldn’t deny I was not getting anywhere in my descriptions of my feelings. Whenever I tried to become more specific it seemed like I lost the most important element of my affection. When focusing on separate elements of the sculptures, in order to articulate what their role was in the general affection I felt, something seemed to be slipping away. [...]”
A SCULPTURE TURNING INTO A CONVERSATION (PART ZERO AND PART ONE) – 2006 two-channel video installation (each 25 min.)
A lecture in which is described how a sculpture turns into a conversation. The work exists both as live lecture and as a double projection with voice-over and sculpture. In the video work a voice-over reads a text in which a sculpture transforms (is transformed) into a conversation, while the left projection (Part Zero) shows a ‘camera’ going over a collection of images, diagrams and notes and the right projection (Part One) a series of photographs. “[...] There’s a line of description going through the text. The text starts with the description of an artificial centralized existence, namely a sculpture – not even a real sculpture but one that is described in order to be turned into a conversation. [...] So the text starts with the description of an abstract sculp¬ture. The sculpture is described and slowly dissolves into a conversation. The description is set up with in mind the immanent transformation and the need to incorporate, already in the sculpture, the possibilities of this transformation and to create the possibility to move from the formal of the sculpture to the content of the conversation. [...]”
THE COMPLEX OBJECT (Affecting Abstraction 3) – 2007 DVD (19.15 min.)
This work deals with the idea of a durational object that incorporates its own construction and all the participating elements in its construction (the creator, the perceiver, the story, the structure, the conditions etc.). It relies on the premise that by constructing this linguistic object around a problematic proposition (for instance an impossible transformation) and basing its internal logic on it, conditions are created in which the problematic nature of the proposition dissolves and it becomes possible to write its ‘taking place’.
The notion of the Complex Object was developed in the course of three text-based performances, while simultaneously a specific Complex Object was constructed: This Complex Object is based on the problem of “how to implement a human presence in a hermetic abstract construction of language”.
26 March - 1 April, 2011
‘Beyond post-modern referentiality or know-it-all self sufficiency, Pisano’s work maps the production of presence/performance in the encounter with a structure (contemporary art) that constitutively demands presence, enunciation and affect from its consumer.” Max Jorge Hinderer
Next to this film program the essay Object Lessons on Pisano’s work by André Rottmann (Texte zur Kunst) will be presented.
Two major concerns structure this essay: on the one hand it tries to explore how Pisano’s practice sets out to reconsider central tenets of aesthetic modernism, especially the notion of abstraction as a universal language. On the other hand it discusses the diagram as the decisive counter-trope of Pisano’s lecture performances, texts and installations, yet argue for its critical and transformative relation to models of pedagogy in the arts at large. The essay is published by Extra City Antwerp.
STUDIO LECTURE 1 – 2006 DVD (42 min.)
CHILLIDA (FORMS & FEELINGS) – 2006 DVD, 2 channel (14 min.)
A SCULPTURE TURNING INTO A CONVERSATION (PART ZERO AND PART ONE) – 2006 two-channel video installation (each 25 min.)
THE COMPLEX OBJECT (Affecting Abstraction 3)– 2007 DVD (19.15 min.)
STUDIO LECTURE 1 – 2006 film (42 min.)
In this lecture a number of ideas revolving around (abstract) objects and their existence are outlined. Departing from two questions (How can an object exist in different conditions? How can I formulate a possible existence that can be articulated as an object?) the following issues are mentioned: Objects as concrete objects, and especially as abstract sculptures, objects as abstract constructions proposing a concrete existence, perception and interpretation, imagination and (dis)placement of an abstract sculpture, alchemy, the interaction between a sculptor, a sculpture, a place and a spectator, the analysis of two abstract memorials for Martin Luther King, the three Broken Obelisks by Barnett Newman, the sculptures of Eduardo Chillida and the photographs of these sculptures by David Finn, a sculpture turning into a conversation, the dense object, a performance by the Greek sculptor Takis and the poet Sinclair Beiles entitled L’impossible, un homme dans l’espace (The Impossible: Man in Space), atom bombs turning into sculptures.
CHILLIDA (FORMS & FEELINGS) – 2006 film, 2 channel (14 min.)
This video is a personal account of Pisano’s emotional reaction on the series of photographs taken by David Finn of sculptures by the Basque sculptor Chillida. While going through the pages of the photo-book she tries to trace the relationship between the characteristics of these specific objects, their depiction, the experience of the photographer and his daughter and her own preoccupations concerning existential matters and her emotional response: “[...] I looked again at the sculptures and slowly I started to suspect something else was going on. I couldn’t deny I was not getting anywhere in my descriptions of my feelings. Whenever I tried to become more specific it seemed like I lost the most important element of my affection. When focusing on separate elements of the sculptures, in order to articulate what their role was in the general affection I felt, something seemed to be slipping away. [...]”
A SCULPTURE TURNING INTO A CONVERSATION (PART ZERO AND PART ONE) – 2006 two-channel video installation (each 25 min.)
A lecture in which is described how a sculpture turns into a conversation. The work exists both as live lecture and as a double projection with voice-over and sculpture. In the video work a voice-over reads a text in which a sculpture transforms (is transformed) into a conversation, while the left projection (Part Zero) shows a ‘camera’ going over a collection of images, diagrams and notes and the right projection (Part One) a series of photographs. “[...] There’s a line of description going through the text. The text starts with the description of an artificial centralized existence, namely a sculpture – not even a real sculpture but one that is described in order to be turned into a conversation. [...] So the text starts with the description of an abstract sculp¬ture. The sculpture is described and slowly dissolves into a conversation. The description is set up with in mind the immanent transformation and the need to incorporate, already in the sculpture, the possibilities of this transformation and to create the possibility to move from the formal of the sculpture to the content of the conversation. [...]”
THE COMPLEX OBJECT (Affecting Abstraction 3) – 2007 DVD (19.15 min.)
This work deals with the idea of a durational object that incorporates its own construction and all the participating elements in its construction (the creator, the perceiver, the story, the structure, the conditions etc.). It relies on the premise that by constructing this linguistic object around a problematic proposition (for instance an impossible transformation) and basing its internal logic on it, conditions are created in which the problematic nature of the proposition dissolves and it becomes possible to write its ‘taking place’.
The notion of the Complex Object was developed in the course of three text-based performances, while simultaneously a specific Complex Object was constructed: This Complex Object is based on the problem of “how to implement a human presence in a hermetic abstract construction of language”.