Exulting Matters: On the Spatial Doxology of Alpine Sounds

Research output: Contribution to journalArticleResearchpeer-review

Abstract

The dynamic entanglements of the Anthropocenic epoch not only seem to decisively change the anthropocentric position of man, but also fundamentally lift the notion of a topocentric condition – the question of a spatiality enclosing human actions, bound to Cartesian coordinates. Rather, our world can be considered as an intensive coexistence of flows and conditions affecting the expressions of our immediate environment, while in their geological virtuality bearing a creative potential that coins our contemporary being. Here, space acts as intensive processuality, as a beat within the vibrant rhythm of material duration. If contemporary spatial reflections are not aiming for being formulated from the outside but the inside, it seems inevitable to focus on such a performative duration, wherein human and nonhuman agencies are mutually influencing each other. Space is no longer seen as a secluded object, but as a becoming assemblage, that – alike Heidegger’s jar – carries the whole world in itself. Space forms its spatiality out of a flexible movement, in the same way as Gilbert Simondon unfolds the individual out of the process of individuation (and not the other way round). This means an essential change in the paradigm of the exhibition space: besides the obsolete concept of a white cube as a neutral, passive and abused envelope, also the idea of a lab does not correspond to our all-encompassing planetary condition. The question is no longer: how do I exhibit?, but: what does an artifice actually mean? Can this new perspective of active and moving entities also re-define cultural space? In following these questions, this article outlines an expanded way of thinking, wherein the artistic performativity embedded in the Anthropocenic fabric becomes space by itself; it is a becoming-space, a becoming-landscape, and a becoming-exhibition. Departing from my artistic research project “Visual Ontologies of the Indefinite,“ this article puts the artistic matter in its centre however without raising it onto an representing plinth. Rather, it becomes part of a forensic dialogue that considers the artistic expression as an entity within a greater relational context. This article builds a new perspective opening towards how a geological presence might unfold new exhibiting strategies in a flowing atmosphere of material particles. Let us open a dialogue that formulates a yet unknown space, and that reflects the process of exhibiting as a vibrant planetary entanglement: „creation is the simultaneity of all possible events.“
Original languageEnglish
Pages (from-to)198-211
Number of pages13
JournalGAM - Graz Architecture Magazine
Volume14
Publication statusPublished - 2018

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Sound
Doxology
Entanglement
Spatiality
Entity
Simultaneity
White Cube
Atmosphere
Cartesian
Jar
Coexistence
Plinths
Performativity
Indefinite Article
Assemblages
Anthropocentric
Artifice
Artistic Expression
Nonhuman
Human Action

Cite this

Exulting Matters: On the Spatial Doxology of Alpine Sounds. / Pirker, Christoph Walter.

In: GAM - Graz Architecture Magazine, Vol. 14, 2018, p. 198-211.

Research output: Contribution to journalArticleResearchpeer-review

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