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Diagrammatic Form, 2012
Diagrammatic Form, 2012

Diagrammatic Form, 2012

(group exhibition)
Banner Repeater, Hackney Downs, London

Opening night: Friday 29th June. 29th June - 12th August 2012.

Project Space:

Works by:

Richard Paul, Joey Holder, Nicholas Knight, Hilary Koob-Sesson, Julia Bonn, Kit Poulson, Jon Txomin, and Alan Brooks (courtesy of MOT gallery),

Performance. Friday 27th July, Hackney Downs rail station, 8.45am.

Marcin Dudek (courtesy of Waterside Contemporary).

Talks. During the exhibition there will be a series of talks:

6th July, John Cussans will be demonstrating a model of the Anthropometer.

18th July, Simon O’Sullivan, who will be talking on his new book: “On the production of subjectivity. Five diagrams of the Finite Infinite relation”.

Reading room:

Works:

The Müleskinders: A Prototype Publication

Contributors: David Berridge, Stuart Calton, Julia Calver, Neil Chapman, Susanne Clausen, Arnaud Desjardin, Ruth Maclennan, Katy Macleod, John Mullarkey, Tamarin Norwood, Simon O’Sullivan, Katrina Palmer, Francesco Pedraglio, Bridget Penney, John Russell, John Russell, Ola Ståhl, David Stent, Andy Weir and Italo Zuffi. The Müleskinders is a project initiated by Neil Chapman & David Stent.

There will be a selection of pamphlets and booklets concerned with diagrammatic form in the reading room for the duration of the exhibition.

Apeirophobia,

by artists Karin Kihlberg & Reuben Henry, designed and co-edited by James Langdon, includes texts by: Emma Cocker, Brian Dillon, Mladen Dolar, Eli Noé.

Maia Conran: Form (2011) (pamphlet).

Mary Yacoob: Circ Interventions, (2006) A5 booklet.

Reading Artists Writing:

SE Barnet will be reader in residence during the exhibition June 29 - Aug 10 on Tuesdays 11-7pm and Thursdays 3-6pm, all welcome to come and read with her. She will be reading from the The Müleskinders: A Prototype Publication as well as other material from the artists publications archive, whilst making diagrammatic connections apparent during her residency.


Potential Articulation.

The single point perspective proposed by Leon Battista Alberti’s treatise De pictura, in 1435, that became know as construzione legittima, developed ideas of projective geometry and although not illustrated by Albertti himself, became the most well regarded model for depicting the illusion of spatial depth on a two-dimensional surface, and so rendering the 3-dimensional world sensible to the viewer. Developments in printing meant that during the early 16th century illustrated books were being distributed across Europe, and the theories became widespread, becoming the standard model. The popularity of such a clear vision of the world represented by Alberti’s model, aligned with how man wished to be depicted in his rightful, dignified position within nature. It was an orderly depiction of Gods realm and accounted for not only man’s position, but was all the more beguiling by the intelligible way it was understood as such, through the structure of the world it presented. Hogarth’s “Satire on False Perspective” of 1754 drew particular attention to not only the conventions of drawing, but also ridiculed the order represented in such drawings, by utilising an array of devices, creating an absurdity of perspective and making a mockery of mans conceit to intelligibly impose order on the world.

As probability theory developed in mathematics, from Herman von Helmholtz's study of human perceptions, (that noted perception itself was diagrammatic), the abstract language of mathematics situated theory as the engine able to extend enquiry into domains well beyond the human sensorium, that could even predict future events, moving away from tangible objects and social statistics to quantum physics, displacing sight as the primary vehicle of understanding.

Diagrams became working objects that emerged from contingent systems of knowledge and came increasingly to assume material form, and to be accepted as inventions rooted in multiple realms of experience.

The process' of deliberation, revision, and reflection, form underlying considerations that suggest that diagrammatic discrepancies between different levels of representation and data types, can be constructive in more ways than one, and at once display the development of creative ideas in practice: a device-like condition that goes beyond drawing or mapping, where a diagram is "not a representation of something else, it is the thing itself".

Diagrams are discursive machines or machines that are traversed by, or activated by discourse. They are machines that register or capture forces and relations. In this sense, diagrams involve or engender narration, interpretation and performance and make possible the transmission to others, to render thought social. The works selected explore the experimental possibilities of diagrammatic forms as working objects.

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