Seamless: the digital in design.
Museum of Architecture and Design,
Ljubljana, Slovenia.
19th September – 3rd November 2013.

Brezšivno: digitalno v oblikovanju.
Muzej za arhitekturo in oblikovanje,
Ljubljana, Slovenija.
19. september – 3. november 2013.

Participants/ Sodelujoči.
Louise Adkins
Kirsteen Aubrey
Mark Beecroft
Keith Brown
Fabrizio Cocchiarella (+ Emma Hayward)
David Crow
Vanessa Cuthbert
Joe Duffy
Michael Eden
Jon Hannan (+ Robert George)
Steve Hawley
Toby Heys (+ Robert Saucier & Oliver Blank)
Saoirse Higgins
Jonathan Hitchen
Nigel Hurlstone
Hilary Judd
Alice Kettle (+ Huw Wahl)
Amanda Langdown
Jane McKeating
Joe McCullagh
Monomatic (+ Nick Rothwell)
Sally Morfill
CJ O’Neill
Alex Russell
Ulysses Sengupta
Annie Shaw

Senior Lecturer, Media,
Film making.
Joe Duffy is a Senior Lecturer in Filmmaking at Manchester School of Art and a practicing artist working with film, photography and installation. His research interests are based around the locating of place within art practice, embodied landscapes, migration, mobility and narrativity. Current projects centre around the exploration of sublime landscapes and the apocalyptic imaginary.

Fractures.
Fractures is a digital video projector/monitor installation that continually loops to evoke a pattern obliterating architectural forms and volcanic aftermath. Apocalyptic dread is layered into notions of paradise and utopian futures via a continual cyclical and seamless narrative of disasters unfolding and surfaces scarred with the traces and marks of exit, as the sites of a great evacuation. The seamless aspect is within the content matter but also within the form of the films structure. As a project centered around the construction and destruction of architectural forms it’s position within a museum of design and architecture continues the seamless thread to relay the work as site specific.

Ordos traces.
Ordos Traces uses a methodology of walking and mapping with a handheld GPS device. The performative relationship to space is represented through a series of GPS drawings taken from the Kangbashi New District, Ordos, Inner Mongolia.
As one of the world’s newest cities Ordos was built to capitalise on China’s coal mining boom and as such is still a city in the process of being built, inhabited and awaiting use. Having been negatively depicted in media articles as a ‘ghost city’ and victim of speculative property building boom and bust, Duffy examines the space as a city in the process of becoming, a space of potential.
The GPS images acting as sketches, refer to a hand drawn blue print to bring the subjective relationship of the communities which will in time populate and create the city. The subjective rendering of movement through the public spaces of the city, its parks and monumental public buildings show the scale of design undertaken and the carefully detailed and state sanctioned planning. The public is juxtaposed with the private through a series of images, which draw residential areas, apartment blocks and communal gardens alongside private developments still in construction.
The GPS device is used as a tool, with the body as a pencil or recording device. Physical environments are created by converting GPS data points and by using software to create a digital drawing through mapped space. The GPS images of the artists mapping of the public, private, civic and residential spaces refer back to the notion of the ghost city through the absence of presence. This also acts as a trace, an impression of Ordos that encounters and reveals notions of real and imagined knowledge of place.





Joe Duffy

Višji predavatelj, mediji, film.
Joe Duffy je višji predavatelj umetnosti filma na šoli Manchester School of Art in umetnik, ki dela na področju filma, fotografije in montaže. Njegova raziskovanja temeljijo na lociranju mesta znotraj umetniške prakse ter vključevanju krajin, migracij, mobilnosti in narativnosti. Njegovi trenutni projekti se osredotočajo na raziskovanje veličastnih pokrajin in apokaliptične imaginarnosti.

Zlomi.
Zlomi je instalacija na digitalnem videoprojektorju/monitorju, ki z nenehnim predvajanjem prikliče v spomin vzorec, ki je izbrisal arhitekturne oblike po vulkanskem izbruhu. Apokaliptična groza se razslojuje na pojme raja in utopične prihodnosti. Razslojevanje poteka prek stalnega brezšivnega cikličnega pripovedovanja o nesrečah, ki se dogajajo, in površinah, ki so jih razbrazdali sledovi množičnega izseljevanja. Brezšivni vidik najdemo v vsebini, pa tudi v strukturi filma. Projekt se osredotoča na graditev in uničenje arhitekturnih oblik. Njegov položaj v muzeju oblikovanja in arhitekture nadaljuje brezšivno predstavitev dela kot specifičnega za to lokacijo.

Sledi Ordosa.
Delo Sledi Ordosa uporablja metodologijo hoje in mapiranja z ročno GPS-napravo. Njegov performativni odnos do prostora prikazuje serija GPS-risb, vzetih iz okrožja Kangbashi v mongolskem mestu Ordos. Ordos, eno najnovejših mest na svetu, je bil zgrajen z namenom izkoristiti kitajski premogovniški razcvet, in kot tak je še vedno v procesu gradnje in naselitve. Potem ko je bil v medijih negativno prikazan kot »mesto duhov« ter žrtev špekulativnega razcveta in neuspeha, ga umetnik preučuje kot mesto v nastajanju, kot prostor potenciala.
GPS-podobe, ki delujejo kot skice, se nanašajo na ročno narisane načrte, z namenom prikazati subjektivni odnos skupnosti, ki se bo morda sčasoma tu naselila in ustvarila to mesto. Subjektivno prikazovanje gibanja skozi javne prostore v mestu, njegove parke in monumentalne javne zgradbe, kaže obseg tega arhitekturnega projekta, predvsem pa njegovo podrobno, s strani države odobreno načrtovanje. Javno je postavljeno ob bok zasebnemu skozi niz podob, ki zarisujejo stanovanjska območja, stanovanjske bloke in komunalne vrtove poleg zasebnih razvojnih načrtov, ki so še v gradnji.
Uporabo GPS-naprave kot orodja – s telesom kot svinčnikom ali snemalno napravo skozi fizična okolja – ustvarimo s pretvorbo GPS podatkovnih točk in z uporabo programske opreme za ustvarjanje digitalne risbe na podlagi preslikave prostora. GPS-podobe umetnikovega mapiranja javnih, zasebnih, mestnih in stanovanjskih prostorov se ponovno nanašajo na pojem mesta duhov, za katero je značilna odsotnost prisotnosti. To deluje tudi kot sled, vtis Ordosa, ki razkriva in se srečuje s pojmi realnega in namišljenega znanja o mestu.

j.o.duffy@mmu.ac.uk
peripheries.co.uk