The exhibition Sensing Spaces:
Architecture Reimagined (25 January – 6 April 2014) challenges the assumed primacy of the visual
in architecture through presenting seven immersive installations designed to
resonate with the senses on a variety of levels. This symposium seeks to unpick
and develop the ideas, issues, implications and assumptions the exhibition
Dr. Peter Muir will be
speaking on the nature of the image at the symposium:
WHAT IMAGES DO
Symposium: The Royal Danish
Academy of Fine Arts, Copenhagen, March 19-21, 2014
The Royal Danish Academy of Fine Arts
Schools of Visual Arts
Kongens Nytorv 1
1050 Copenhagen K, Denmark
Paper titled: ‘The hollowness of the image’ (the image as an economy of
attraction and evasion)
WHAT IMAGES DO is organized by The Royal Danish Academy of Fine
Arts, Schools of Architecture, Design and Conservation and The Royal Danish
Academy of Fine Arts, Schools of Visual Art in collaboration with Kunstakademie
Düsseldorf, NCCR Iconic Criticism ‘eikones’ in Basel and TU Delft.
pleased to announce the forthcoming publication of my new book on Gordon
Matta-Clark. Gordon Matta-Clark’s Conical
Intersect: Sculpture, Space, and the Cultural Value of Urban Imagery,
Matta-Clark: Hardback ISBN 978-1-4724-1173-0
Peter Muir, Associate Lecturer, Open University, UK
Gordon Matta-Clark’s Conical Intersect: Sculpture, Space, and the Cultural Value of Urban Imagery
In this in-depth analysis, Peter Muir argues that Gordon Matta-Clark’s Conical Intersect (1975) is emblematic of Henri Lefebvre’s understanding of art’s function in relation to urban space. By engaging with Lefebvre’s theory in conjunction with the perspectives of other writers, such as Michel de Certeau, Jacques Derrida, and George Bataille, the book elicits a story that presents the artwork’s significance, origins and legacies. Conical Intersect is a multi-media artwork, which involves the intersections of architecture, sculpture, film, and photography, as well as being a three-dimensional model that reflects aspects of urban, art, and architectural theory, along with a number of cultural and historiographic discourses which are still present and active. This book navigates these many complex narratives by using the central ‘hole’ of Conical Intersect as its focal point: this apparently vacuous circle around which the events, documents, and other historical or theoretical references surrounding Matta-Clark’s project, are perpetually in circulation. Thus, Conical Intersect is imagined as an insatiable absence around which discourses continually form, dissipate and resolve. Muir argues that Conical Intersect is much more than an ‘artistic hole.’ Due to its location at Plateau Beaubourg in Paris, it is simultaneously an object of art and an instrument of social critique.
Contents: Introduction; Materialising space and the search for origins; Articulating the void: the dematerialisation and re-materialisation of Conical Intersect; The art of self-effacement: interpreting Matta-Clark’s cuts; Waste value and the formless other; Conical Intersect as counter monument (the ‘non-u-ment’); On the closing and opening of other spaces; Of blindness and mediation; Appendix; Bibliography; Index.
About the Author: Dr. Peter Muir is a Research Associate with MIRIAD (the Manchester Institute for Research and Innovation in Art and Design) and an Associate Lecturer with the Open University, UK.
Peter Muir will be speaking on Jacob Epstein’s British Medical Association sculptural series at the conference ‘Re-Writing Objects & Histories of Sculpture,’ The Courtauld Institute of Art, London (11-12 May 12)
CONVERSION, ICONOCLASM AND REVOLUTIONThe discourse surrounding the traumatic events leading to the removal,transport and relocation of sculpture often centres on the acts ofdestruction associated with revolution and iconoclasm. However, thechanges resulting from re-use and conversion, whether spiritual,functional or symbolic, are as important to our understanding of theobjects and locations of sculpture in their surviving states as are therecords and physical traces of loss. This session approach issues raised by changes made to sculpture in situ, objects whose location has remained static whilst their function has been altered, and the disfigurement, dismemberment and disguise of sculpture in the face of radically shifting social and political contexts.