a tangible materiality where people leave traces/ marks (be it physical or sensory). This happens in a tangible space but not in air space or waterways. But the questions in both cases can be territorially linked or conceptually.
Here are a couple of photographs taken from a ferry on the way to Dublin from Holyhead. Also, Rilke’s poetry invokes the relevance of space through strategies of spatial evocation that are interstitial.
In the short prose works emerge inter- phenomenonal Zwischernräumethat are neither available to ordinary perception, nor compatible to the premises of modern scientific consciousness. ‘Interstitial’ space is meant broadly indicating not merely the intervening space between fixed empirical or geometric points, but space constituted by striking renegotiations of the relation between different positions within experience or between different forms of experience. These interstitial spaces are not measurable by empirical means and must be achieved through poetic effort. In many short prose works, space is given a hermeneutic role, so that the reader is invited to imagine interstitial forms of spatial meaning.
Paulina: Megan’s photographs and the discussion above bring to mind all the work that has been done about geo-political borders. Janet Roitman’s text on the Chad Basement, ‘Productivity in the Margins’ in V. Das et al, Anthropology in the Margins of the State, 2001, is an interesting look at that which is produced as surplus through/ after conflict, in the space of the margin. Roitman examines the paradox of being simultaneously weak and strong through the inability of being mapped. While it’s not a strictly visual in-between like sea and air these quasi-legal marginal spaces do raise similar questions about the production of space. Lacan’s work on object petit a is perhaps of interest too as it deals with the space of the real, projected desire that is separate from the body. Post Lacan there is of course Zizek et al. A quote from Mladen Dolar, ‘At First Sight’, in Gaze and Voice as Love Objects:
It is the loss of the object a that opens the reality hence-forward seen as ‘objective’ reality, the possibility of subject-object relations, but since its loss is the condition of any knowledge of ‘objective’ reality, it cannot itself become an object of knowledge.
What I find in the broad range of interstitial gaps and spaces that we have been discussing, in their varying degrees of abstraction and theorisation is the notion of the surplus, unknowable and in- between. Again going back to the interstice. Alternative ways of infiltrating spaces and less conventional notions of space that have been mentioned by the group so far in various ways allude to the surplus and in-between. At least for me....
The discussion again brings to mind the Wrong Gallery and their use of the door as space in its own right.
Megan: When I took the photographs I wasn’t at all thinking about geo-political borders. I suppose that one of the interesting things about this project is interpretation and where other people might take your ideas and images. I was more interested in shifting nature and the interstitial spaces revealed by tides and submerged through flooding.
Jennifer Anna Gosetti- Ferencei, ‘The German Quarterly’, Volume 80, Issue 3.
Megan: The Wrong Gallery was set up by artist Maurizio Cattelan and two editors turned curators, Massimiliano Gioni and Ali Subotnick. It was, for a time, the smallest exhibition space in New York. Furthermore, it never actually opened. In reality it was nothing more than a glass door, identical to those of the Chelsea spaces it satirised. It existed as a sort of parasite on the art world, occupying the basement doorway of the established Andrew Kreps Gallery and simply adding a 1/2 to Krep’s 516A address. The Wrong Gallery’s curators referred to it as ‘the back door to contemporary art’ – one that’s ‘always locked’. It was entirely non-commercial and literally only accessible to window shoppers, who would peer through the door into a meagre two and a half square feet of gallery space.
Gaze and Voice as Love Objects, Renata Salecl and Slavoj Zizek (eds.), 1996, p. 138.
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