Process test.01: Radiographic Translation from Intuition (Illuminated Head for Blinky by Bernardi Roig). 2017 Detail
“Fortuny Walls”, 1 of 30
Site Castings: Entwinements In Palazzo Fortuny
“Architecture is in the world of the visible. This means that the bodies of architecture and the human body are one in front of the other and between the two there is ‘not a frontier’ but a contact surface.” (Merleau-Ponty 1968, 271).
Maurice Merleau-Ponty suggests a space of reciprocity ‘formed’ by bodily correspondences. In this sense a “contact surface” has a kind of thickness, a liminal[i] space formed via the reciprocity of figural correspondences: a malleable space cast from the tension of mutual presence. The revealing and unfolding of this “cast-space” is where Site Castings begins.
In November 2017 studio Paul O. Robinson began working within the spaces of Venice’s Museo Fortuny. The palazzo within which the museum is housed will serve as the spatial, artifactual, and narrative inspiration for the creation of an installation comprised of visual art, musical composition, and poetical narrative. The installation can perhaps be compared to a casting of extant and temporal contexts that are extracted from their “mold”, transformed and then repositioned as a synthetic experiential environment; the transformed situates itself through dialectical associations with its original. In opposition to the conventional template wherein a museum or gallery functions as a space engaging the visitor in a linear—one-way—conversation, “Site Castings” instead views palazzo Fortuny—its objects, stories, installations, and spaces—as “muse:” an active participant in the production of an entwined interdisciplinary work which will allow one to experience the palazzo/museum within a new contextual environment defined by the multiform installation.
The work can be considered a spatial, textual and musical “recasting” of the traces of habitation whose form is emergent from the entwinements of three mediums and whose source materials are the spaces and artifacts within the palazzo. The installation includes performative and narrative elements that will define the creation of a book embodying the work. The poet Laura Sims, the composer and performer Christopher Tignor and architectural historian and theorist Alberto Perez-Gomez will be collaborating with our studio on Site Castings.
The Fortuny-based installation creates an explorative discourse involving associative processes of object/space making informed by the collaborators’ quasi-anarchic correspondences.
Comprised of full-scale altered radiographs, transformative paintings and three-dimensional castings with integral armatures, entwined with live musical performances, the installation will reshape the extant spaces of palazzo Fortuny.
“Site Castings” begins with stories about perception…perceptions rendered as a form of space defined via the continuance of time and its presence within the artifactual traces of habitation. Through the creative embodiment of correspondence and narrative structure emerges the artifice of form and a means to shape experience through the construction of filters that link the body to the external world.
Links to Site-Castings collaborators:
http://www.wiresundertension.com/ ; https://vimeo.com/92470422
[i] In this sense I use two intertwined definitions of the word: Liminal as threshold and liminal as the least amount of space required to hold two contact surfaces.