Acts of appearance – ‘side cabinets at Holden Gallery’ http://sidecabinetsatholdengallery.blogspot.com/
I have ‘virtually’ placed myself in an existing gallery for a couple of weeks, The Holden Gallery, Manchester, using a virtual positioning within a space for thinking and making, allowing myself to consider the projection of a piece as relevant as the making. In order to project pieces of work thinking them within the gallery space, I created a blog that somehow, to me, came to have a correspondence to the physical space - http://sidecabinetsatholdengallery.blogspot.com/
The virtual came to explore a place where ‘objects’ that stand for a visual image gather meaning through the subjectivity of others. The virtual equates a view on representation and photographic acts, such as capture or framing, from beyond the possibility of framing or pining down, following the idea of ‘what could be’, rather than ‘what is’, to a place in imagination.
Alluding directly to imagination, the traces seen or suggested through writing invite to be continued through the viewer’s/reader’s participating presence, and to be ‘re-visualised’ along elements coming into composition with the piece. The projects are constituted by a probability of ‘appearance’, through a kind of playful game that requires precision but is also evocative and inventing, also denoting a reciprocal relation that, most of the times, is unsynchronized and transboundary, between practice and theory from the possibilities posed by a question.
Some of the projects were to be taken forward, although they never were. The reason is that the projects reflect a series of crossings between practice and theory, precision and subjectivity, while allowing an 'inclination' towards something to be motivated by a series of elements interlinked by the intention to gain a view of both practice and theory through inside/outside notions of 'affect'.
About the Holden Gallery: The Holden Gallery is a place I particularly like for its structure and its placement, as a place of passage, opened towards an audience, and a place within an academic institution. It is to me like a laboratory, a place ‘in between’, and I think of it in terms of Yve Lomax’s considerations about Deleuze’s notion of ‘becoming’ within a ‘multiplicity’: ‘Affects and becomings are something that happens in between’, while ‘the same and the other do not stand opposite each other’. This also means that while there are two territories, in affecting and coming to be known in the presence of the other, there is ‘deterritorialization’. I feel personally that the fact that the gallery is composed of the main space and the side cabinets makes it the ideal place for case studies, with the side cabinets representing ‘notebooks’ or sketchbooks, and also formulation and precision, as well as the consideration of creative processes and poetry as the making itself. The works included in the Blog have not been produced in real life, but nevertheless I see them as central to my practice because they exist in/from intention, and I am looking to re-think my view of photography from what may be before it.
Ana Luísa Cruz, PhD research student, Manchester Metropolitan University, UK
Acts of appearance – ‘side cabinets at Holden Gallery’ http://sidecabinetsatholdengallery.blogspot.com/
I have ‘virtually’ placed myself in an existing gallery for a couple of weeks, The Holden Gallery, Manchester, using a virtual positioning within a space for thinking and making, allowing myself to consider the projection of a piece as relevant as the making. In order to project pieces of work thinking them within the gallery space, I created a blog that somehow, to me, came to have a correspondence to the physical space - http://sidecabinetsatholdengallery.blogspot.com/
The virtual came to explore a place where ‘objects’ that stand for a visual image gather meaning through the subjectivity of others. The virtual equates a view on representation and photographic acts, such as capture or framing, from beyond the possibility of framing or pining down, following the idea of ‘what could be’, rather than ‘what is’, to a place in imagination.
Alluding directly to imagination, the traces seen or suggested through writing invite to be continued through the viewer’s/reader’s participating presence, and to be ‘re-visualised’ along elements coming into composition with the piece. The projects are constituted by a probability of ‘appearance’, through a kind of playful game that requires precision but is also evocative and inventing, also denoting a reciprocal relation that, most of the times, is unsynchronized and transboundary, between practice and theory from the possibilities posed by a question.
Some of the projects were to be taken forward, although they never were. The reason is that the projects reflect a series of crossings between practice and theory, precision and subjectivity, while allowing an 'inclination' towards something to be motivated by a series of elements interlinked by the intention to gain a view of both practice and theory through inside/outside notions of 'affect'.
About the Holden Gallery: The Holden Gallery is a place I particularly like for its structure and its placement, as a place of passage, opened towards an audience, and a place within an academic institution. It is to me like a laboratory, a place ‘in between’, and I think of it in terms of Yve Lomax’s considerations about Deleuze’s notion of ‘becoming’ within a ‘multiplicity’: ‘Affects and becomings are something that happens in between’, while ‘the same and the other do not stand opposite each other’. This also means that while there are two territories, in affecting and coming to be known in the presence of the other, there is ‘deterritorialization’. I feel personally that the fact that the gallery is composed of the main space and the side cabinets makes it the ideal place for case studies, with the side cabinets representing ‘notebooks’ or sketchbooks, and also formulation and precision, as well as the consideration of creative processes and poetry as the making itself. The works included in the Blog have not been produced in real life, but nevertheless I see them as central to my practice because they exist in/from intention, and I am looking to re-think my view of photography from what may be before it.
Ana Luísa Cruz, PhD research student, Manchester Metropolitan University, UK