To speak of abandonment suggests a withdrawal or relinquishment of influence, the exposure of a physical or social structure to the dereliction of time or a cessation of protection. It can also describe a state in which one is given over to forces beyond oneself - the extreme highs and lows of the human condition. Above all, the act of abandonment implies transfer - something orphaned is passed to another controlling agent, something is gained.
Understanding abandonment not only as a binary, final state but also as part of a natural dialectic incorporating positive and negative elements has been critical in developing the fourth edition of Dispatx Art Collective. A positive reading is atypical - we asked collaborators to consider that if apathy and isolation are the more immediate connotations at a personal level, what happens when we translate this experience into space and time, or even into the act of perception? The moment of abandonment is central to this exploration in reviewing the possibilities: a personal letter, written but never finished or sent; land acquired from the recession of a water line; the evolution of buildings and groups. How is the collaboration between an agent and the external world punctuated by abandonment?
The fourteen works presented here provide a broad range of interpretations, from the wholly personal level of individual aloneness to the questions invoked by large-scale civil - and thus social - engineering. Each provides a variety of readings underlining the mix of good and bad in abandonment, and its central role in our understanding not only of the spaces around us but also of the internal states that are their constant bedfellow.
Four of the projects in this edition have been built around a personal experience of abandonment. In each case, we see how the artist uses space to reinforce the message. Isolation, by Karen Myers, embodies abandonment in the human form and its presentation. We look down on a figure seated in the corner of a room, the oblique perspective and the strong colours of the surrounding walls reinforcing the guarded pose and expression of the subject. Numerous stories are suggested not only by the formal elements of the work but also its content - the figure in underwear, neither nude nor fully clothed. Her expression speaks to us of abandonment as a concept, or as a physical state.
Similar themes run through ¿Por que, Por que? (Why, why?) by Rafael Andreu. In each of four photographs, a rope running from the subject and out of the frame eludes a direct significance. The subject appears either to be letting out the rope or to be restricted by it. In the proposal to this collaborative work, the artist alluded to assimilation of events by an individual, and ‘the negation that comes with being abandoned’ - instead, the open reading provided by the white cord running off-frame allows for its interpretation as a guide to or from events or places.
The third piece taking a more personal approach to abandonment is Maribel Oldig’s sculpture Inwendig (Within Oneself): a woven metal structure which swallows up the subject, or in which the subject is submerging itself. In whichever case, the work concerns that which is left behind - a movement from one place to another, either mental or physical. The title of the work, constructed around the German term Auswendig meaning to learn by heart, makes further reference to this movement as an act of introspection. What is more, the form of the work suggests armour, protection - or even the violation of some enclosed space.
However, of these four projects it is Erorr [sic] whose scope is perhaps the most wholly personal, the most uneasy. Aaron Anstett, whose poetry often combines a sharply observant inner voice with the all-too-physical facts of everyday life, here manages with four poems to convey the sickness of being without base, without home - thoughts that flit from one image to another, hidden things happening that we can never know or approach. A terrific combination of lost moments and placelessness combine banality and poignancy to impressive effect. In More, the strict form combines & repeats in order to build a sense of euphoric abandonment - “the maples look lovelier drunk” - the significance of each repetition pushing the reader to more complex imagery.
Another of the ways in which we often understand the notion of abandonment is in connection with spaces - a building standing empty, at first nothing more than a closed-down version of its former self but with time becoming more decrepit, vandalised, eroded. As the building changes with time, so does our understanding of it - until in cases where new uses supercede the former it can be hard to reconcile the building with what we know of it.
It is just such a view of abandonment that we see in a second group of projects in this edition. In At the Entrance to the Arcade, poet Stephanie Bolster uses cinematically vivid images to evoke loss and recollection, former lives and former uses of buildings. These four poems are very physical in the way that they move one around, providing a broad, long-term view of time and intimating a scale of interconnection larger than single lives and recognisable moments. The author manages, through wonderfully subtle imagery, to exalt the day-to-day.
The essay Holism and the Gestalt, on the other hand, talks about the physical aspects of abandonment from a quite different perspective. Taking as his starting point the view that the Holism-Reductionism debate is nothing more than a trivial linguistic misunderstanding, Stephen Levy uses two physical examples of abandoned places to illustrate what he sees as a failure of rationality. The underlying argument is straightforward and the view of abandonment as part of a natural dialectic is well illustrated. By bringing a more academic perspective to bear on the theme at hand, these positive and negative aspects can be seen in a new context.
A further academic extension can be found in Anna Simmonds’ Always-Already, an ambitious approach to Heideggeran thought which resulted in a dialogue or concrete poem combining aspects of Barcelona guide books and diary entries. The reader is challenged to combine the subjective and the objective - by presenting this work in a physical, interactive medium, the artist has managed to bring problems of phenomenology to abandonment.
Of the works whose focus lies most directly with the physical, it is the set of photographs from Shannon Doubleday that are most troubling. Collie Lane, four images taken of the photographer’s childhood home, are not simply nostalgic but rather sinister depictions of what-has-been. The lurid colouring combined with strange perspectives provides a claustrophobic atmosphere punctuated by images of escape routes - as if returning to one’s childhood home and finding it shrunken, unwelcoming. Here, the artist makes abandonment explicit in that which is no longer there, but which remains imprinted in such things as patterning and colour, or the attempt at unification of space through interior design. The formal value of these images, evidenced through colour and framing, is particularly strong - and it is through the use of such resources that the concept of understanding a space through the passing of time is stamped on each of these pictures.
The Three Gorges and Oradour-sur-Glane have a number of common points, not least amongst them being an attention to detail, an unflinching desire to record the moment of abandonment. However, there is another level at which the two works could not be more different. The first, Jade Ireson’s photo-journalistic work covering the social upheaval surrounding the planned civil engineering project at Sandouping in China, accompanies each photo with detailed diary entries providing additional context. At the project’s completion, some 2,000,000 people will have been relocated from their ancestral homes - 13 cities, 52 towns and 1376 villages will have been abandoned. Each of the 9 photos gives a richly detailed view of the human cost of technological advance - the abundance of reality in these photographs overcomes any resistance one might feel to journalistic manipulation and provides an honest portrait of the world as it is.
Sharon Jefford’s project Oradour-sur-Glane, on the other hand, concerns not that which will come to pass but that which has been. Throughout the work in progress of this project the artist developed a number of ideas & questions related to this small French town destroyed by Nazis and subsequently maintained as it was left - in the final work, the camera has been turned away from the town itself and onto the trees surrounding the site. The town is abandoned as the direct subject, the trees providing a mirror reflecting one’s gaze back to the town.
When we talk of abandonment we talk of change - the movement of one thing into another. In some cases this change is imperceptible, for example in the slow decline of piece of clothing or a social group; it is this movement that we see evidenced in Usos y Desusos (Uses & Disuses), Catalina Salazar’s exploration of the shopping centre for the poor that sprang up in Bogota towards the end of the 1990s. Through purchasing simple clothing and exposing it to the elements, the artist developed the base for a series of five digitally manipulated images that bring together a range of techniques in exploring the transitory nature of people’s lives. We see clothes presented as mirrors or as maps of human bodies in allegorical skin-shedding as we abandon how or who we once were; furthermore, by making the use and disposal of objects a daily action the work erodes any aura of ritual such action may once have had.
Layering and allegory also play a strong role in Ramón Galindo’s video work Bifurcate. Twinned images - a shoe shiner painstakingly working on a shoe placed centre screen, and a pair of bare feet walking with no pause - interlace on the screen to an eerie, pared-down soundtrack; a garish, almost violent red colour filter works to melt the images into one another even further. It becomes hard to tell which image has precedence, which is the most important - in different cultures walking without shoes is an action symbolic of either attainment or loss, or of total abandon, a kicking off not only of shoes but also all worldly cares.
Natalia Guarin & Vanessa Oniboni collaborated on the project Transición (Transition). Based on the premise that every action is an act of abandonment, they have presented a series of photographs capturing simple actions, embodying that moment where one thing becomes another. Long exposures coupled with a solid juxtaposition of formal elements provide a disquieting atmosphere in which warm colours and simple shapes frame ghostly personages engaged in a variety of behaviours.
In looking at the various different ways in which one can understand the notion of abandonment, this edition of dispatx.com contains personal works, physical interpretations, photo-journalism and the linguistic translation of abandonment into the moment of transition between two states. Estacionario (Stationary), a narrative piece by Vanessa Oniboni, pulls together all of these themes.
The proposal for this project suggested an exploration of abandonment along two specific axes; a linguistic level, seen in the formal structure of the writing, and a narrative level exploring the concept through actions and events. The first of these two is immediately apparent on reading the work - a dystopic, place-less setting frames a series of actions that seem both common and foreign. One is reminded of Auster or Koestler - as if the central character is in some way a refugee from another place, sequestered against her will. In the text, the character refers to herself as the ‘anticomprador’ (anti-buyer), and finds the gaze of the shopkeepers unbearable :
Quizá era una mirada instigadora, sospechosa, curiosa, pero para mí era una mirada de dolor. Yo la entendía como un gesto de súplica. Para mí el escaparate les había robado la memoria. Para mí eran seres ausentes, más estatuas.
(Perhaps it was a belligerent look, a look of suspicion, of curiosity, but for me it was a look of pain. I understood it as a plea for help. For me, the storefront had stolen their memory. For me they were absent, more like statues)
Several of this edition’s works have combined the everyday with transitionary elements of abandonment. In other works the results provided a troubled view of the world: in Estacionario, the world itself becomes something incomparably alien.
This fourth edition of Dispatx Art Collective contains 14 works comprising narrative and poetry, essay, photography, oil painting and sculpture, and video. Each of these elements poses a number of questions containing both positive and negative readings of the theme; by selecting these works and projects, we also feel that we have provided clear answers concerning the meaning of abandonment.
About Dispatx Art Collective:
Dispatx provides the tools of a social internet for the development and presentation of contemporary art and literature. Visitors are invited to interact with the artists via the online display of their working processes, and to create unique private collections of the finished works. Through this process we seek to establish a new curatorial discourse based on artistic working practices.
Links :
Abandonment
RSS Feed
Site Tour