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Survey
Survey
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Survey
SURVEY2010Dimesions variableWheelbarrow, map, rubbleInstructions Guidelines 1. Confirm Exhibition location of the
work, obtain wheelbarrow and local map.
2. Plot one half Mile and one Mile
radius onto a map and walk the area in decreasing concentric circles, (as the environment
allows) back to the exhibition location. Note rubble locations onto the map, photographing
and recording these locations. This should be done within five days of the
exhibition opening. If a larger radius is required, increase the radius incrementally. 3. Re-walk the route with the
wheelbarrow and collect rubble utilizing as many sites as possible with a
maximum variance on the size of rubble. The wheelbarrow should be as full as
possible. 4. The full wheelbarrow is tipped
vertical in the exhibition location and held in place by the rubble pile.
5. The map(s) are dated and added to the
archive along with the rubble location photography and photography of the installed
work.
6. The title of the work displayed is: Survey
(X, Y, Z)
X = The location of the installation, written
as a town city or area.Y = Postcode / Zip code.
Z = The date written numerically
E.G: 5/5/2011.
7. At the close of exhibition, the rubble
and wheelbarrow is considered a unique edition, it’s conservation, future and
ownership is at the discretion of the host institution.
8. The archive can be published, but not
exhibited alongside the wheelbarrow and rubble.
9. All photography, notes, correspondence
and documentation on Survey should be added to the archive to assist with future
executions and publication of the work.10. To be official the full actions 1-9
must be completed. Notes:The work Survey is a portrait of a landscape, it is a physical
manifestation of time and an appraisal of an environment in flux. It is a geological study and a snapshot of a
changing territory at a very specific time and place. The work commences with
an exhibition invitation, followed by a set of 10 guidelines issued to the
exhibition curator.
Survey is always different in each location and functions
formally across several mediums: Digital Information, Architecture, Performance,
Photography, Archiving and Sculpture (touching on themes of Land and Process Art).
The evidence of these actions in the gallery is an upright wheelbarrow
held in place by a pile of rubble. That pile of urban detritus has a specific
relation to its time and location of creation. It is procured via a precise
analysis of the area around the exhibition location. Construction sites, street
works and the entropic nature of the built environment yield this Geological
evidence. Including broken curb fragments or splintered
sidewalks, it includes domestic and industrial sites on all scales.This mix of rubble reveals an archeological
narrative, revealing natural stones, bricks, concrete, slate, re-bar and dirt. While human activity and natural decay turn over
the fabric of the city, rubble is revealed and a temporary Architecture of
cones and hazard tape is erected, this is all documented as part of the work,
within days these sites vanish as the temporary ruptures to the city are
patched and replaced.
Within
the same radius the rubble sites of 2011 would be completely different to the
rubble sites of 2021. It is this process of change and the ability of the Artwork
to survey and document its environment that emphasizes the importance of the Photo
Archive of rubble sites. This mapping and photography is not exhibited in the
gallery, but can exist online and in publications. The exhibited work Survey
gives it’s clue by the title suffix that notes the date the rubble was
collected and the location of the exhibition. E.G: Survey/Queens/11101/ 1.15.12
The placement of the work is left to the
discretion of the curator, the work can be placed inside or outside, but
preference is given to it being inside, with the dirt and mess of the rubble juxtaposed
to the clean organized gallery interior, the two Architectures influence and
reflect the values and understanding of each other.
work, obtain wheelbarrow and local map.
2. Plot one half Mile and one Mile
radius onto a map and walk the area in decreasing concentric circles, (as the environment
allows) back to the exhibition location. Note rubble locations onto the map, photographing
and recording these locations. This should be done within five days of the
exhibition opening. If a larger radius is required, increase the radius incrementally. 3. Re-walk the route with the
wheelbarrow and collect rubble utilizing as many sites as possible with a
maximum variance on the size of rubble. The wheelbarrow should be as full as
possible. 4. The full wheelbarrow is tipped
vertical in the exhibition location and held in place by the rubble pile.
5. The map(s) are dated and added to the
archive along with the rubble location photography and photography of the installed
work.
6. The title of the work displayed is: Survey
(X, Y, Z)
X = The location of the installation, written
as a town city or area.Y = Postcode / Zip code.
Z = The date written numerically
E.G: 5/5/2011.
7. At the close of exhibition, the rubble
and wheelbarrow is considered a unique edition, it’s conservation, future and
ownership is at the discretion of the host institution.
8. The archive can be published, but not
exhibited alongside the wheelbarrow and rubble.
9. All photography, notes, correspondence
and documentation on Survey should be added to the archive to assist with future
executions and publication of the work.10. To be official the full actions 1-9
must be completed. Notes:The work Survey is a portrait of a landscape, it is a physical
manifestation of time and an appraisal of an environment in flux. It is a geological study and a snapshot of a
changing territory at a very specific time and place. The work commences with
an exhibition invitation, followed by a set of 10 guidelines issued to the
exhibition curator.
Survey is always different in each location and functions
formally across several mediums: Digital Information, Architecture, Performance,
Photography, Archiving and Sculpture (touching on themes of Land and Process Art).
The evidence of these actions in the gallery is an upright wheelbarrow
held in place by a pile of rubble. That pile of urban detritus has a specific
relation to its time and location of creation. It is procured via a precise
analysis of the area around the exhibition location. Construction sites, street
works and the entropic nature of the built environment yield this Geological
evidence. Including broken curb fragments or splintered
sidewalks, it includes domestic and industrial sites on all scales.This mix of rubble reveals an archeological
narrative, revealing natural stones, bricks, concrete, slate, re-bar and dirt. While human activity and natural decay turn over
the fabric of the city, rubble is revealed and a temporary Architecture of
cones and hazard tape is erected, this is all documented as part of the work,
within days these sites vanish as the temporary ruptures to the city are
patched and replaced.
Within
the same radius the rubble sites of 2011 would be completely different to the
rubble sites of 2021. It is this process of change and the ability of the Artwork
to survey and document its environment that emphasizes the importance of the Photo
Archive of rubble sites. This mapping and photography is not exhibited in the
gallery, but can exist online and in publications. The exhibited work Survey
gives it’s clue by the title suffix that notes the date the rubble was
collected and the location of the exhibition. E.G: Survey/Queens/11101/ 1.15.12
The placement of the work is left to the
discretion of the curator, the work can be placed inside or outside, but
preference is given to it being inside, with the dirt and mess of the rubble juxtaposed
to the clean organized gallery interior, the two Architectures influence and
reflect the values and understanding of each other.
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