"My work aspires to a condition of density, great simplicity, directness, openness of language and interaction."~Cildo Meireles
A key instigator of Conceptual Art, Brazilian artist Cildo Meireles has made some of the most politically telling, aesthetically seductive and philosophically intriguing works of the last four decades. With a characteristic economy of means, he distils complex ideas into single objects or environments.
Meireles was born in 1948 in Rio de Janeiro, where he still lives and works. His father worked for the Indian Protection Service and, as a boy, the artist accompanied his family on their constant moves throughout the vast Brazilian territory. We often catch glimpses of these childhood experiences through his art.
His work inherited the legacy of Neo-concretism, a Brazilian movement of the late 1950s that rejected the extreme rationalism of geometric abstraction in favour of more sensorial, participatory works, which engage the body as well as the mind. The utopian optimism of the Neo-concrete artists foundered after the coup of 1964, which ushered in an oppressive military regime.
Meireles’s generation, emerging in the late 1960s and 1970s, were known for more politically engaged works, the extremity of their actions mirroring the extreme political situation. Meireles himself, however, links these two strands of Brazilian art.‘In some way you become political when you don’t have a chance to be poetic. I think human beings would much prefer to be poetic’, he explains.
As Guy Brett, co-curator of this exhibition, has said, ‘A work by Meireles often starts in a commonplace, usually domestic object, or a childhood memory, which becomes transmuted into a perceptual, philosophical, even a cosmological speculation, without, however, losing its grit, its roots in social reality – a reality often harsh but marked by human resilience and inventiveness.
Extract from Cybernetics and Second-OrderCybernetics by Francis Heylighen Cybernetics is the science that studies the abstract principles of organization in complexsystems. It is concerned not so much with what systems consist of, but how they function.Cybernetics focuses on how systems use information, models, and control actions to steertowards and maintain their goals, while counteracting various disturbances. Being inherentlytransdisciplinary, cybernetic reasoning can be applied to understand, model and designsystems of any kind: physical, technological, biological, ecological, psychological, social, orany combination of those. Second-order cybernetics in particular studies the role of the(human) observer in the construction of models of systems and other observers.
Shifting Vectors of Landscape Condition as Cybernetics System
My main idea is concerning about the shifting vectors of the landscape, the conditions in the space that altered the object's position and movement as a series of events oscillating the landscape. My system is based on the shifting and non-static coordinates between object and space, the blurring territory of trace left behind in between the time, this complex system is a tactic for rejoicing the paradigm of architectural language. A tactic could adapted to a programme for architectural space and a way of exploring and experimenting idea, an algorithm as part of cybernetic system.
以景觀狀態的變動向量關係談論控制論系統
這個設計主軸在於討論空間中變動向量關係，以景觀狀態變化為出發點來探索與試驗這空間語法系統。空間中的狀態與條件會改變物件位置與位移關係，位移之中空間狀態也在改變，就是所謂不斷變動的景觀，在這樣一個複雜與非安定的座標中，討論物件與物件、空間與物件中間那模糊的邊界，那物件遺留下來的變動痕跡，一個事件系列彼此間牽動與擾動空間。這個思考方式是在重新打破建築規範語言，一個複雜多元的系統來探索想法，建立一個演算法則或空間語法來做為控制論中的一部分，一個可以重新翻轉建築方案的解讀方式。
A scripting system based on the falling event of leaves from the tree to the ground, a whole sequence of related field events within the object and the space, the idea is to documenting the movement from air to ground as a time system, the wings waving in the wind and capturing the leaves into the vessel, the place where leaves dryout due to the humidity and temperature then drop into the wieght scale that operate by the spring, while the whole journey was a time-based event that manipulate this time measurment system. 一個時間撰寫系統，透過一系列落葉從樹上掉落地面的連續事件中，試圖利用一個系統來記錄過程，一個物件與空間變動關係的系統，利用風吹動翅膀來捕捉落葉，落葉先掉落在第一個艙體裡，一個靜待條件轉換的空間，落葉因為氣溫、溼度漸漸變形扭曲，縮小的體積穿越到第二個艙體，一個可以量測重量的裝置，當落葉累積使得重量數值變化，一個由事件轉成質量再轉成時間刻度的閱讀系統。
ROGER HIORNS
SEIZURE
British artist Roger Hiorns makes exceptional use of unlikely materials: detergent, disinfectant, perfume, fire and copper sulphate crystals. Transforming steel poles, car engines and cardboard architectural models into crystalline forms, Hiorns effects surprising, physical and aesthetic transformations on found objects.
In SEIZURE, Hiorns' most ambitious work to date, the artist precipitates an unexpected sculptural form within the fabric of a housing estate near London Bridge. Architecture and modernist sculpture continue to be important touchstones for Hiorns' work, and both have strongly informed the development of this major new commission. For his first work within an urban site Hiorns' makes a radical shift of scale and context, and has developed an extraordinary chemical intervention in the heart of the city.
The scripting system comes from the idea of seasonal colour changes of leaves, the colour is the reflection of the light wavelengh, the climate altered the chemical reaction and effect the colour. Colour is a part of transitional script of the weather condition, it illustrate the shifting, and the blending colour of all kinds. A very rough idea of extracting the parameters of the weather into a colour printing devices that mixes the CMYK due to the changing condition, a scripting by printing. 一個顏色編撰系統，來自樹葉改變顏色的狀態，顏色只是物體反射光線的波長，所以是一種化學變化造成數據改變因為氣候變化，所以顏色的轉換轉譯了環境條件轉換，一個很直接的想法是擷取這樣的想法成為一個CMYK印表機，一個可以因為溫度、濕度、風、空氣而噴出墨水的系統，一個可以轉換無形的因子成為有形的圖像。
The idea of micro landscape scanner flipped through when accidental presented upside down, the meaning chages and becomes a whole new programme and triggered another possibility, which leads to a new system of leaves catching with trajectory tracing and condition observer of the sequetial falling leaves event, such as the gravity and the wind, the journey of the leaves from air to ground. Phil suggets two system could be also add into the idea, one with crushing lanscape like a shoe, and one in the sky, a synthetic programme of shifting landscape on different scale through weather conditions or environmental parameters, the bluring territory between human and nature. 這個記錄微距景觀的系統在翻轉鏡射之後變成全然新的可能，意義改變、作用改變、一個捕捉落葉旅程的工具，因重力從樹上掉落、因風力轉向、因氣溫扭曲，一個序列景觀轉變的記錄系統。老師建議可以再引入兩種系統，一個是景觀的擠壓關係，像是我們鞋子踩過落葉的瞬間，一個可能是在天空中的系統，所以我有一個全面性的景觀記錄工具，一個在地底、一的地面、一個地面之上，之後這些用來探索人與環境之間模糊的領域可能會是什麼。
The Procedure of model making by 2d cutout drawings, the contour section pieces are the unfolded expandings of the object, the in-between slices are the bluring spaces which refer to Derrida's idea of trace, the mark on both in the future and in the past, the individual cutout has the hidden relationship of whole peice, which is also the idea from Differential and Intergral function, that each of the "solution" is the section of the graph. Expand this idea toward my enquiry of trace, the time of "now" is the section of "present", the still image we saw. Looking toward the blur space as time territory of "present" which the hidden dimention are the lofting space that last in-between of now and next now.
2D連續剖面呈現3D立體模型的技術是一個關於微積分的觀念，微分(剖面)積分(剖面集合)，當切分越來越細時則會接近原始物體，有趣的是即使是無限細分中仍然存在著剖面與剖面中間的"空白"，這個空間到底是什麼? 回歸到徳希達所提出的"痕跡"，痕跡是遺留在同時過去與未來中的記號，我將他解讀是一個跨越時間平面的物件，它必須同時存在兩個時間，一個德勒茲時間摺疊中才可能出現的，這個模糊(Blur)的痕跡空間會是什麼? 如果將這觀念來重新解讀時間，現在(present) 是相對過去(Past)與未來(Furure)夾集的領域，是相對定義的而無法絕對定義，如果是這樣現在是一個非線性的空間，因為每個物體有自己的時間軸，當下(Now) 則是現在(Present)的一個剖面就是所謂的單一線性時間，所以我想要觀察的Blur就是這個present下的空間，我所關心的是如何在這個現在中去擺放一個設計，當所有的物體都有自己的時間軸這麼複雜的系統中。
A leaf landscape observatory that can record the fluctuating vector of the leaf, the vector that altered by the temperature, humidity changes of the weather, a time-based event that caused the shifting of micro landscape. The LEGS matrix are the devices for sensoring the small horizontal drift and the NEDDLES are for vertical movement. 落葉的景觀記錄器用來偵測樹葉的微小變化，因為氣溫、溼度等等氣候因子使得樹葉會枯萎、蜷曲、萎縮，這每一個樹葉節點是反應這一個時間事件中微觀世界的景觀變化。物件中的LEGS與NEDDLES用來分別偵測水平與垂直的位移。
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