PREMISE series

PREMISE SERIES:

The Premise series, deals with the emotional context relationship a viewer has to both cinematic and actual physical reality in art objects and works.  The "emotional relational space" to narrative constructs used in all narrative story telling are superimposed in non linear visual elements, both in videos and short films employing actors, in potential cinema story telling situations. The physical works on the hand, deal with the superimposed (cinematic concept) used to superimpose the emotional narrative relationship a viewer has with a object or objects within a gallery setting. At core, is the ability of all viewers, when presented with a narrative story premise to super impose that premise upon, rational, physical, imagery, both in objects and in video, film informed settings and works.

These works extend the conceptual visual basis of both John Baldassari, and Lawerence Weiner. Especially in the new works by Lawerence Weiner, of potential exchanges utilizing "He said, she said" possibilities in potential narrative.

Article explores Nature of "Premises" in design and architecture as formulating the themes, concepts, ideas and issues to be addressed. Thus the shaping of the effort.

Guggenheim Museum New York

Guggenheim Museum SoHo

Premises: Invested Spaces in Visual Arts, Architecture, & Design

Premises has been conceived as a polemic exhibition that addresses the past 40 years of aesthetic production in France in relation to a theme that has preoccupied many international artists since the beginning of the 1960s. 515ZJMHCVVL._SX364_BO1,204,203,200_Playing upon the two meanings of its title, the first being locality or space and the second thought or argument, Premises explores a specific approach to artistic and architectural practice concerned with notions of site, space, territory, and location. The works that have been united for this exhibition explore the relationship between the artist/architect and the constructed environment. Using various artistic forms including installation, film, video, photography, and architecture, the artists and architects in Premises explore the interrelationship of both physical and mental space.

Occupying three floors of the Guggenheim Museum SoHo, the exhibition design presents the domains of visual arts and architecture as two clearly separate disciplines superimposed onto one another. Each architecture room consists of continuous, large- scale slide and video projections along with three-dimensional scale models of the buildings displayed. Placed at regular intervals throughout the exhibition, these architecture spaces are enclosed by semi-translucent rear-projection screens. The fragility of this material suggests a precarious relationship between these two disciplines. In addition, the spaces consecrated to the visual arts have a sense of autonomy because of the nature of the works themselves. Every installation constitutes a specific site, a distinct locality, or a physical as well as psychic territory. By disregarding the customary hierarchies between architecture and art, the exhibition design offers a scenario that functions as a literal mise-en-scène of current tendencies toward interdisciplinarity.

Both the architecture and visual arts sections of Premises are structured into five thematic chapters that attempt to give a narrative framework for works by several generations of artists dealing with similar motifs. The visual arts section begins with “Localities: Between Public and Private Space.” All of the works testify to the artists” preoccupation with the liminal division between public and private spheres in contemporary society. The artists in “Sites of Memory” create spaces that are pervaded by a deep sense of introspection, in terms of personal and historical remembrance.

Each of the works in this sequence hover between the intensity of the artist’s mental universe and their attempt to deal with haunting questions in their artistic practice. “Enclosures,” the third section of the exhibition, unites works dealing with territories of confinement. Playing upon the sometimes oppressive psychological and physical constructions of the human condition, the works in this section are quite diverse in the manner in which they address the restricted site. Spaces constructed by conventions of visual experience are explored in “Framing the Spatial: Between Voyeurism and the Cinematic.” The final chapter, “Zones of Communication/Spaces of Exchange,” seems to erode the binary opposites that begin the exhibition: public/private spheres, open/closed structures, subjective/historical sites of memory. In this section, a younger generation of artists investigates the nebulous territories engendered by the age of mass communication and questions the ambiguous status of various social spaces, whether “real” or “virtual” in our contemporary society.

Like the visual arts section, the architectural works have been organized with a distinct thematic structure of sections that could be characterized by a single paradigm. The entire architectural portion of Premises attempts to synthesize the opposition between the continuity of formalist architecture and an architectural practice that gives primacy to notions of social transformation and conceptual devices.

The opposition explored in the first section, “Form versus Relation,” distinguishes the formalism of Le Corbusier’s late work and the utopian architectures proposed by the members of Team 10 and Yona Friedman. The question of social housing is addressed in the second section, “Elevating the Conditions of Living.”

There is a deeply rooted tradition in France concerning the architects’ socio-political role that is in direct opposition with formalist preoccupations of other contemporary architectures. This so-called “utopia of the real” seeks to ameliorate the daily conditions of existence-a positive action that postmodern criticism has not been able to extinguish from contemporary French architecture. Using as a point of departure the early work of Marcel Lods and Jean Prouvé, “The Fabrication of Architecture” replaces a more traditional theme of construction. Bringing fabrication of the edifice closer to an almost craftsman-like approach to architectural practice, the works in this section are echoes of the effects of image culture and progressive discourse. In “Fragment versus Container,” the fragmenting of form is contested by the logic of containment. The container plays upon such structures as military bunkers and industrial hangars because of their ability to accommodate a multiplicity of activities. This refusal of form harks back to the concept of surface in architecture. The last theme, “Devices: Architecture as Mechanism,” takes into account the distinction between an architecture that is justified by its own presence and a type of architecture that is defined by the effects or activities that it engenders.This exhibition is the result of a unique collaboration between the curatorial teams of the Centre Georges Pompidou and the Guggenheim Museum under the curatorial direction of Bernard Blistène, Alison M. Gingeras, and Alain Guiheux.