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Expanded Performance
Stroom Den Haag, 2012
Adrien Tirtiaux, oorspronkelijk opgeleid als architect, toont een speciale interesse in gebouwen, ruimtes en het gebruik ervan, die vaak ook zichtbaar is in zijn werken en interventies. Zijn projecten verbinden de ervaring van bepaalde ruimtes met verhaallijnen en/of sociaal-politieke kwesties. Tirtiaux betrekt de bezoeker regelmatig in zijn werk door van hen te verwachten, of zelfs van hen te eisen, dat ze hun gedrag aanpassen om zijn werken daadwerkelijk te kunnen zien en beleven: een ‘performatieve' uitdaging voor de kijkers en bezoekers.
Al het bovenstaande is ook het geval voor het project The Great Cut (2012) dat Tirtiaux ontwikkelt voor Expanded Performance. Dit project heeft niet alleen betrekking op de tentoonstellingsruimte van Stroom, maar op de gehele instelling en de mensen die er werken. The Great Cut is een reactie op de Nederlandse regering en hun bezuinigingen op cultuur, een erg actueel en veel besproken onderwerp in Nederland. Het werk visualiseert de politieke besluiten die met betrekking tot cultuurbudgetten zijn genomen in Den Haag. Dit gebeurt op een ruimtelijke manier, door middel van een fysieke structuur die geleidelijk 20% van de ruimte in Stroom zal blokkeren.
De structuur begint in het hart van de organisatie - de kantine en de keuken waar het personeel elkaar ontmoet, praat en luncht - en van daaruit zal de structuur geleidelijk verder groeien door Stroom en de tentoonstellingsruimte. Bij elke stap van de ontwikkeling zal de vorm van The Great Cut mede gedefinieerd worden in dialoog met de werknemers van Stroom, in een poging een consensus te vinden wat betreft praktische, ideologische en esthetische wensen.
Originally trained as an architect, Adrien Tirtiaux takes a special interest in buildings, spaces and their use, which is often visible in his works and interventions. His projects connect the experience of specific spaces to narratives and/or socio-political issues. Tirtiaux frequently incorporates the viewer in his works by expecting from them, or even demanding in a way, that they adjust their behaviour in order to really see and experience his works: a ‘performative' challenge for visitors and personnel alike.
All of the above is also the case for the project The Great Cut which Tirtiaux developed for Expanded Performance. This project does not only deal with the exhibition space of Stroom, but with the whole institution and the people working there. The Great Cut is a reaction to the Dutch government cuts in culture, a very present topic in Holland at the moment. The work spatially visualizes the political decisions that have been taken in The Hague concerning culture budgets, through a physical structure that obstructs progressively 20% of Stroom's space.
The structure starts in the heart of the organization - the lunchroom and kitchen where the staff meet, talk and have lunch - and from there on, will progress through Stroom and the exhibition space until mid-December. At each step of its development, The Great Cut‘s shape will be defined in dialog with Stroom's employees, trying to find a consensus between practical, ideological and aesthetical wishes.
1916 Wallis & Steevens expansion agricultural engine, works No.7498.
Gloucestershire Steam Extravaganza 2018.
was a bit tricky getting a decent pic when facing the sun.
I'll look forward to getting the finished pics with Braves work in.
With my previous tessellation, I noticed the work in progress had more success (as per number of views/fav/comments) than the finished piece.
Here is a new WIP for you to enjoy :)
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SD40 #8560 na travessia da Avenida João Pinheiro. Uberlândia MG
Nearly an hour after arriving, these abandoned drinks were the the first indications we'd had that there might be an actual party somewhere up ahead... and not just an endless purgatorial queue.
Around this same time, a couple passed by the line headed upstream, away from the direction of the party, and were (mostly) genially heckled.. "What's it like??" was my favorite.
9:40 PM.
Final
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This photo was subject to the most criticism (from both myself and others), and I'm still not completely happy with it. While I feel that the concept was sound, I struggled to come up with a way to execute it effectively. I needed to place a flash behind the large flask to give the impression that the fluid within it was glowing, but even on the lowest settings (1/128, three green filters, 18 mm zoom) it was still a little too bright. However, hoping to make it look as good as possible I reshot it three or four times on separate days, and every retake yielded a marginal improvement over the last. Although I am not entirely satisfied, I believe that this was the best I could do given the constraints presented by this concept.
From a bridge smack in the middle of Christiania. On both sides of the canal, little self-made houses and converted military barracks host the local families.
The new town centre development takes shape in Keynsham: work-in-progress as seen from Temple Street near its junction with Bath Hill. This photo was taken on Thursday 19th December 2013, so things will have moved on quite a bit since then.
My first egg tempera painting in progress. Egg tempera is an ancient form of painting which uses egg yolks to bind pigments. Tempera painting is going through a revival of sorts due to artists discovering its unique optical properties. No other painting medium can suppass the translucence and radiance of color as egg tempera (ET).
Some famous artists who have used this medium include a great many of the renaissance painters (prior to the advent of oil painting), Andrew Wyeth, Paul Cadmus, Reginald Marsh, Peter Hurd, as well as, many other current artists.
More info. on egg tempera:
this unit has sat for more than a week while the BNSF refuses to haul it because they wont send mechanical forces to inspect the just rebuilt locomotive. Its some day headed to the CP for lease.
It was rebuilt by Progress rail's mayfield KY shop though at this point its sitting south of VMV in North yard