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Site-Writing the Architecture of Art Criticism for Alan and Beth Site-Writing the Architecture of Art Criticism

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Site-Writing the Architecture of Art Criticism for Alan and Beth Site-Writing the Architecture of Art Criticism Site-Writing The Architecture of Art Criticism For Alan and Beth Site-Writing The Architecture of Art Criticism JANE RENDELL Published in 2010 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © 2010 Jane Rendell The right of Jane Rendell to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: 978 1 84511 999 7 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress Catalog Card Number: available Printed and bound in Great Britain by ................................................ from camera-ready copy edited and supplied by the author Contents List of Images vii Acknowledgements xv Prologue: Pre-Positions 1 Configuration 1: Triangular Structures with Variable Thirds 21 Transitional Space 23 Undoing Architecture 27 One + One = Three: Tracey Emin’s You Forgot to Kiss my Soul 37 Confessional Construction 53 Configuration 2: To and Fro 59 Frontier Creatures 61 Travelling the Distance/Encountering the Other 69 To Miss the Desert 75 You Tell Me 87 An Embellishment: Purdah 103 Configuration 3: A Rearrangement 111 Word-Presentations and Thing-Presentations 113 The Welsh Dresser 121 Longing for the Lightness of Spring 135 Les Mots et Les Choses 149 Configuration 4: That Which Keeps Coming Back 153 Déjà Vu 155 ‘Some Things You See Will Remind You of Others’: Déjà Vu in the 161 Work of Cristina Iglesias La Passante 179 ‘She is walking about in a town which she does not know’ 185 vi SITE-WRITING Configuration 5: Decentring/Recentring 195 The Copernican Revolution 197 Somewhere Else She is Told 201 Decentring/Recentring Do-Ho Suh 209 Everywhere Else 221 Trafalgar Square: Détournements 225 Epilogue: Alien Positions 241 Notes 249 Select Bibliography 293 Index 303 Images Configuration 1 1 Tracey Emin, Self-portrait (2001). Reclaimed timber and sparrow. 36 Height: 365.76 cm. Diameter: 355.6 cm. © the artist. Photograph: Stephen White. Courtesy: Jay Jopling/White Cube, London. 2 Tracey Emin, Conversation with my Mum (2001). Two children’s 41 chairs, DVD (shot on Mini-DV), TV and table 101 × 41 × 32 cm. Duration: 33 mins. © the artist. Courtesy: Jay Jopling/White Cube, London. 3 Tracey Emin, Poor Thing (Sarah and Tracey) (2001). Two hanging 43 frames, hospital gowns, water bottle and wire 186.3 × 80 × 94 cm. © the artist. Photograph: Stephen White. Courtesy: Jay Jopling/ White Cube, London. 4 Tracey Emin, The Perfect Place to Grow (2001). Wooden birdhouse, 45 DVD (shot on Super 8), monitor, trestle, plants, wooden ladder 261 × 82.5 × 162 cm. Duration: 2 mins looped. © the artist. Photograph: Stephen White. Courtesy: Jay Jopling/White Cube, London. 5 Tracey Emin, The Bailiff (2001). Wooden cabinet, DVD (shot 49 on Mini-DV), monitor 261 × 82.5 × 91 cm. Duration: 4 mins 43 secs. © the artist. Courtesy: Jay Jopling/White Cube, London. 6 Jane Rendell, Confessional Construction (2002) LLAW, curated by 52 Brigid McLeer, BookArtBookShop, London. Photograph: Jane Rendell, 2002. viii SITE-WRITING Configuration 2 7–10 Nathan Coley, Black Tent (2003). Reproduced by kind 74–83 permission of the artist and Haunch of Venison Gallery, London. 11–14 Jananne Al-Ani, Echo, The Visit (2004). A work in two parts: 86 Stills from Echo (1994–2004) VHS transferred to DVD, 10 mins, four-channel projection. 30 × 30 cm each. Commissioned by Film and Video Umbrella and Norwich Gallery. Courtesy: the artist. 15 Jananne Al-Ani, Muse, The Visit (2004). A work in two parts: 88–9 Production stills from Muse (2004), 16 mm film, transferred to DVD, 15 mins, single-channel projection. 190 × 300 cm. Photographs: Effie Paleologou. Courtesy: the artist. 16 Jananne Al-Ani, Untitled (2002). Production still from Untitled 91 (2002), DVCam transferred to DVD, 3 mins, single-channel projection. Dimensions variable. Commissioned by Terra Incognita. Courtesy: the artist. 17 Tracey Moffatt, Laudanum (1998). Tone gravure prints on 250 g 92 Arches Cover White 100% acid-free rag paper. Series of nineteen images. 76 × 57 cm. Edition of sixty (TM 01 16/60). Copyright: the artist and the Roslyn Oxley9 Gallery, Sydney. 18 Richard Wentworth, Spread (1997). Ceramic. 6 m diameter. 94–5 Courtesy: the artist and Lisson Gallery, London. 19 Adriana Varejão, Parede con Incisão a la Fontana 3 (2002). Oil on 96 canvas. Courtesy of the Victoria Miro Gallery, London. Copyright: the artist. 20 Adriana Varejão, The Guest (2004). Oil on canvas. 70 × 50 97 cm (ADV 1330). Courtesy of the Victoria Miro Gallery, London. Copyright: the artist. 21 Richard Wentworth, The Red Words (Die Roten Worte) (1997). 101 Aluminium foil, copper, wood and plastics. 41.5 × 53 cm. Courtesy: the artist and Lisson Gallery, London. 22 Jane Rendell, ‘An Embellishment’, in Peg Rawes and Jane 104 Rendell (eds), Spatial Imagination (London: The Bartlett School of Architecture, UCL, 2005), pp. 34–5, p. 35. Designed by Penelope Haralambidou and reproduced with her kind permission. LIST OF IMAGES ix 23 Jane Rendell, An Embellishment: Purdah (2006), Spatial Imagination, 105 domoBaal contemporary art, London. Photograph: Cornford & Cross, 2006. Configuration 3 24 ‘The Welsh Dresser’. Photograph: Jane Rendell, 2003. 122 25 ‘Lustre Jug’. Photograph: Jane Rendell, 2003. 123 26 ‘Cuttings’. Photograph: Jane Rendell, 2003. 124 27 ‘Two Keys’. Photograph: Jane Rendell, 2003. 125 28 ‘Red Die’. Photograph: Jane Rendell, 2003. 126 29 ‘Random Buttons (in a Bag with Needle and Thread)’. 127 Photograph: Jane Rendell, 2003. 30 ‘Coins’. Photograph: Jane Rendell, 2003. 128 31 ‘Hook without Eye’. Photograph: Jane Rendell, 2003. 129 32 ‘Diary’. Photograph: Jane Rendell, 2003. 130 33 ‘Tailor’s Chalk’. Photograph: Jane Rendell, 2003. 131 34 ‘My Junior Jet Club Badge’. Photograph: Jane Rendell, 2003. 132 35 ‘Will’. Photograph: Jane Rendell, 2003. 133 36 Elina Brotherus, Rain, The Oak Forest, Flood (2001), Spring, The 134 Wapping Project, London. 37 Elina Brotherus, Horizon 8 (2000), Spring, The Wapping Project, 136–7 London. Chromogenic colour prints on Fuji Crystal Archive paper. Mounted on anodised aluminium and framed. Edition 6 (3A + 3B). A 105 × 130 cm/B 80 × 100 cm. Courtesy: the artist and gb agency, Paris. 38 Jane Rendell, ‘Moss Green’ (2001). Photograph: Jane Rendell, 2001. 138 39 Jane Rendell, ‘White Linen’ (2001). Photograph: Jane Rendell, 2004. 140 x SITE-WRITING 40 Elina Brotherus, L’anatomie du ventre (1999), Suites françaises 2. 142 Tryptich of chromogenic colour prints on Fuji Crystal Archive paper. Mounted on anodised aluminium and framed. Edition 6, 40 × 50 cm each (× 3). Courtesy: the artist and gb agency, Paris. 41 Elina Brotherus, Love Bites II (1999). Chromogenic colour 143 print on Fuji Crystal Archive paper. Mounted on anodised aluminium and framed 70 × 57 cm. Courtesy: the artist and gb agency, Paris. 42 Elina Brotherus, Femme à sa toilette (2001), The New Painting. 144 Chromogenic colour print on Fuji Crystal Archive paper. Mounted on anodised aluminium and framed. Edition 6, 80 × 66 cm. Courtesy: the artist and gb agency, Paris. 43 Jane Rendell, ‘Bittersweet’ (2001). Photograph: Cornford & 146 Cross, 2001. 44 Jane Rendell, Les Mots and Les Choses (2003), Material Intelligence, 148 Entwistle Gallery, London. Photograph: Entwistle Gallery. Configuration 4 45 Cristina Iglesias, Untitled (Tilted Hanging Ceiling) (1997). Private 164 Collection. Courtesy of the artist, Donald Young Gallery and galeria elba benitez. Installation view at Whitechapel Art Gallery (2003). Photograph: Ben Johnson. Reproduced with kind permission of the Whitechapel Gallery Archives. 46 Cristina Iglesias, Untitled (Polyptych III) (1999). Silkscreen on 165 copper 200 × 400 × 0.5 cm. Private Collection. Courtesy of the artist, Donald Young Gallery and galeria elba benitez. Reproduced with kind permission of the Whitechapel Gallery Archives. 47 Cristina Iglesias, Untitled (Celosia I) (1996). Wood, resin, bronze 167 powder 260 × 220 × 250 cm. Collection Dexia Bank, Brussels. Untitled (Celosia VII) (2002). Wood, resin, bronze powder 260 × 220 × 250 cm. Courtesy of the artist, Donald Young Gallery and galeria elba benitez. Installation view at Whitechapel Art Gallery (2003). Photograph: Ben Johnson. Reproduced with kind permission of the Whitechapel Gallery Archives. 48 Cristina Iglesias, Untitled (Vegetation Room VIII) (2002). Resin, 171 marble powder, pigment. Untitled (Vegetation Room X) (2002). Resin LIST OF IMAGES xi and bronze powder. Courtesy of the artist, Donald Young Gallery and galeria elba benitez. Installation view at Whitechapel Art Gallery (2003). Photograph: Ben Johnson. Reproduced with kind permission of the Whitechapel Gallery Archives. 49 Cristina Iglesias, Untitled (Alabaster Corner III) (1993). Iron and 173 alabaster. Variable dimensions. Collection of the artist, Madrid. Courtesy of the artist, Donald Young Gallery and galeria elba benitez. Photograph: Ben Johnson. Reproduced with kind permission of the Whitechapel Gallery Archives. 50 Cristina Iglesias, Untitled (1993–1997).
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