Well, the tougher the lecture comes from this small book about forces,
police whose full time is everything I saw or heard, dead or wounded, understood or misunderstood.
Walking distance from the studio and historical centre of Mexico City published in 2006.
This is a Belgian artist who's lived in Mexico since about 1990, and he writes usually in English.
This is a typical little list that he prepared with.
So you the spirit. As I was, I'm walking. I'm not choosing and not smoking.
Not music. I'm not making. I'm not. I'm not for. I'm a painting. I'm not hiding.
I'm not caught him adding. I'm not crying. I'm some.
And it's the I'm not making public. Is so. So I suggested about about his walk's.
One of the books in this book is called Reenactments and 2000.
And I have had to show you a fragment of the of the video.
Some of this probably just as well because of the time I can't put it off.
It what happened was we bought a gun and he's.
And he walked through the streets of Mexico City for, well, quite a long time,
I think for about ten minutes or more before he was stopped by the police and temporally arrested.
The police then agreed to re-enact the whole scene under the guidance.
So this this is just one example of a walk.
That's a kind of provocation. There are many different kinds of walls that are did.
And I'll come back to the point about he makes his list when I'm not walking.
What one I am not working.
And that is one of the truths of the of the front of the of the walk out of the one drop in in art and literature and culture,
really, since the passage of the 19th century. And Dr. Benjamin talked about food, less flannel,
strolling the Paris streets as someone directly opposed to the bustling industriousness of the city
down with dawdling was the watchword of the Taylorism and its analysis of the efficient assembly line.
So Will Cain has been at the origin of events.
The situation is that at least all his friends have recorded, and it's been a form of discovery of subversion, sometimes of satire.
I'm reminded of this particular re-enactment of one of the famous dug out phrases from Ojha, whose embarks on a vendetta,
in fact, said that was his ambition was to make literature with a gun in hand and in honour of all dolled up popular 1920.
He talks quite a lot about living in the street, about using the street as a site.
And he did about also walking aimlessly along, fixing up the philosophy, the supper and walking for 40.
Sallie's has been, amongst other things, resistance to the pace of modern life.
Like quit walking in particular, drifting or strewn is already within the speed culture of all time a kind of resistance.
One of the actions he took in Mexico City was to join the line of unemployed workers touting for jobs who
gather daily by the railings of the cathedral in the Zocalo with his sign tourist alongside the plumber,
painter, electrician,
etc. at least simultaneously highlights precarious and informal nature of the labour market in Mexico and the ambiguity of his own work as an artist.
What would it have meant if he let it artist rather than tourist on his card?
Anyone who bought him.
And it's it's it's in this connexion with tourism that I want to go back now to a much earlier instance of the first instance of street intervention,
the subversive use of taking to the streets. I had planned this connexion, this link from these two to this this incident,
which is the visit to centrally and approved by the Paris data group in April 1921,
and then found that those in her essay for the Exhibition of Subversive Spaces does exactly the same thing.
And her essay, quote,
I'm Not Walking is I strongly recommended as a study of the Office of the Truth of the Walk or the Wonder in in 20th century art.
But then. I just want to note that this this this connexion I find very fascinating.
This is at the height of Dada's notoriety in France and the visit.
You can see here they are standing in the fog mist in front of centrally on the povo.
The second from the right is systems are on the third floor. The left is on Brooklyn who have a kind of parallel rivalry in their poses.
This was advertised as the first of a series of visits to shows and places in particular those places that really have no reason to exist.
It was a parody of the regular guided tours of Paris, which usually took place on a Thursday.
There was also an element to clericalism, the choice of a church for this visit.
And it was intended as a manifestation. They tend to stand in silence until the crowd expecting a guided tour was goaded to react.
However. Unfortunately, it was pouring with rain and the crowd of about 50, it was getting to sing out.
So the denyse decided that they would speak. After all, some of this is recorded in the newspapers at the time.
Huh? I'll bet on that. Tell us what you expect us to do.
Sentence. One thing we will never come to anything that neither will you.
And Zaha declaimed.
Taxi Schuh hacked Camembert Dancing Ministry, Friendship, IFAB pants, gasometer affection, literature, household produce something.
You've still got time to write 80 volumes. I hate that.
So this is provocation, but also underneath it that there is this this constant theme of being against the production.
The productive industrial city being. Being against work. Now, the visit was understandably regarded as a failure.
And it wasn't repeated. The participants wandered off to the cafe with a taste of ashes in their mouth.
And it was one of the experiences that eventually left a rift between little and saw the collapse
of data and the removal of the veto in creative activity that came with the funding surrealism.
And I'm just putting up for movement moment. I can't possibly encompass the full extent of of that.
So the interest in an active engagement with street and corporate life.
This is just one instance of letting them talk by hand to her,
which uses scraps of newspaper newsprint for two footers from the popular press as part of the of the collage.
About Guta, about. Well, what is that? This extraordinary circular circular construction around a headless.
Don't sell this.
That manifestation, the failed anti tourist visit to Central in the Cove is part of the history of Paris Guta.
But this is now not its only interest or value contemporary practises until now.
We now have not only revived interest in this history and in actions of this kind,
but invites us to look again at the possibilities of the historical events and aspects that may seemed less important at the time.
But now they are brought alive in a new context and clarify, which is peculiar to the time and place of data and what is peculiar to time place.
One aspect of both Dada and surrealism has come. No kidding.
Focus in the last couple of decades is an attitude to history itself, to the past and to progress.
That attitude was wholly out of sympathy with modernism, the First World War and the devastating revelation that destructive powers of
bomb technologies that have promised peace and prosperity lies behind that.
One invitation only centred on the flyer, and I quote.
Taking part in this first visit is to recognise human progress and potential disruptions and to what extent this attitude,
the sceptical attitude, this resistant attitude to progress is really negative is a very large question that I can't really go into.
But in conjecture that I want to quote from Theodore Bolaños essay, looking back on surrealism from the 1950s.
And he wrote it so it isn't it seems obsolete.
It is because man himself refuses the consciousness of the Annunciation, which was fixed in the negative of surrealism.
That is, I would argue, surrealism and dada no longer seem so obsolete.
Is it because there is acceptance of this renunciation fixed and the negative of surrealism?
Well done. Answer. It doesn't seem this obsolete.
Not least because as we cease writing the history of modern art in terms of isms and look beyond categories and stylistic boundaries,
the ideas, attitudes, the strategies of those involved in these movements come into focus in a different way.
So, for example, the possibilities of chance, the potential of wandering the readymade and the found object then classifiable notion.
The interesting conundrum of the form have all come alive again for artists as well as for critics.
None of these is is media bound, medium bound and artists have being able to engage freely in both materiality and the ephemerality of everyday life.
And what I mean, I would say is that I'm not thrilled by the influence of surrealism on contemporary practises.
I'm talking about the way that contemporary practises actually throw a different light on them and an office do do there.
But I think it's not certainly in the name of surrealism,
but I think what is being what is being thrown up by these practises now in relation to what
citizens did is it sort of gives it a different position in the district of this century,
Art. Now, I didn't have time to talk about the entire thing, but I just say a little bit about the readymade.
This is the first really a like 1914, which, of course, has had probably more impact on this century, outperforms any other object.
I would hope that it still occupies a kind of vogue between the household object and the work of art.
So this obviously is much disputed.
What I put beside it is a photograph by Eugene X-ray of a fountain, and you can just see in the bottom right hand corner a book rack in use.
And I put this up because people find the copyright nowadays such a mysterious object that we're not familiar with in our kitchens.
But I wanted to show it is something that was once used.
Photography and film and video have become both documented actions and objects and as mediums to explode in their own right.
Extremely important in here. The artists above on surrealism, I think were again, pioneers.
I really hope not to socialism's greatest productions, greatest books.
I wrote Arrogance, Paris Peasant and Britain's Nadia. Both which innocence about walking.
Both of which record excursions into a city made strange.
And I think in both cases the books are kind of conducted in the knowledge of the photographs of Yujing at Jay,
who spent his nights photographing Paris,
sometimes commissioned to take particular photographs of the architecture, sometimes just following his own interests.
He was completely unknown when he was kind of discovered by by the surrealists, as Walter Benjamin said, that J.
In his small history of photography. And I thought he looked for what was unmarked, forgotten, cast adrift.
And thus his pictures work against the exotic, romantic and sonorous names of the cities.
They pump the aura out of reality like water from the sinking ship.
Actually, it was always passed by the great sights of the so-called landmarks that it did not pass by.
It was a long row of boot blasts or the Paris courtyards or the tables after people had finished eating and left or brothel.
At number five, you would think that this is offering for the surrealist the scene poor sanitary estrangement between man and his surroundings.
It is, though, an estrangement from the exotic tourists snap or the city ordered and productive in work.
The service found in that case photographs from misfit, hitherto unrecorded,
hidden every day, which would unexpectedly trigger desire for freedom of the unknown.
But this is an example of the service adopting and diverting one about Jay's photographs.
It's not. So it's on David's side. This is a photograph of people gathered in the past dome observing an eclipse.
Actually, the puppet of black at the side is is the cover the camera cover.
I mean, he didn't care about the public profile. There's people standing, looking up at the sky and the service abuse.
It's the cover of the magazine.
I've only seen two ladies with the title, the latest conversions.
And this this is there was indeed a state of conversions to back to the Catholic Church in the mid 20s, much to this disgust.
So this is the first example of them changing the way, changing the photograph with a different group, with different captions.
Unfortunately, after the last book, past hasn't is not in its fake, it actually a photograph.
So when one feels that it could be.
He said of his novel Paris Peasant, published in 1926. The description is reserved for places, and the story is part of the evolution of a mind,
starting with a mythological conception of the world and leading towards materialism, which is not achieved in the final pages of the book.
But only promised within the terms of the proclamation.
The failure of hegemonism loftiest of all those conceptions which allowed men to advance along the path of idealism in the second part of Paris.
Peasant as I will become a muscle, no aimless and in a state of spiritual frustration, visit the park.
Did it show more at night coming into the column at the highest point of the park?
While Paris below them is fog shrouded, they deciphered, but a lot of matches.
The inscriptions on the four angles of the column.
I put up this photograph by Acha of the compound seen shrouded in mist because it seemed to correspond a little bit to that passage in in Paris.
Hasn't since it administration in Paris.
Hasn't that. Is this a transcription of the inscriptions that they found on the column?
This indicator obelisk was erected on the 14th of July 1883 by the inventor
and commercial traveller using their unfortunate routine pay out the lights.
Who thought it sufficient to give the broms the apparatus, the idea that due to the stinginess of humanity, it remained unfinished.
The rectangles which received the mass of the nineteen dismal and Paris itself, you can see that it is a black square.
There were there should be a map of Paris when exact details of the population, churches, hospitals, power stations,
points of the compass of barometer readings inscribed on the obelisk and carefully written down by the bear.
In his view, witness to the belief in an absolute command of the physical makeup and conditions of the country,
an ideal of nineteenth century positivism rendered ludicrous by change is rationalism defeated.
This humorous demonstration, as if he was not legitimate, has this kind of monument supposed it should be?
The information is outdated. The maps are empty. And it reminds us of the flanner.
The students wonder. And later, the situationist with an issue that then if you he will respond to the eligibility of the modern city.
As I said in the first part of Paris, peasant in the magical evocation of the soon to be destroyed have to look at a quote.
There are many kinds of walks as there are clouds in the sky. I like to let the winds and the rain blow through me.
Chance is my only experience has it my social experiment.
So Nadia and Paris peasant, both explorations of the city of Paris.
The Wandering operates in several different registers. It's a form of protest against work and is a potential liberator of design.
The cover of Revolution Survivalist. This this cover number four puts the form that is the form of protest against work,
very stark and manically is posed against some actually like staircase with a caption and war on work.
That is an X-ray fragment corner of of an elaborate staircase on the right hand side.
The image, unfortunately, looks as if it is advocating moneyed leisure and fashion.
And in fact, Bluffton's argument was quite different.
And I quote the event from which each of us is entitled to accept the revelation of his own life's meaning is not my work.
When Nadia innocently expresses sympathy for the men and women returning from work in the second class carriage of Dimitra and says Only love,
John is fine people, but on grounds in fury.
No. That is not the point. I know the servitude people trying to hold up to me as being so valuable.
I pity the man who is condemned to it who cannot generally escape it.
But it is not the burden of his labour that disposes me in his favour. It is the figure of which of his protest against it.
And I would just say that it is this attitude that the Peruvian poet says more.
I was talking about a couple weeks ago, he claimed that definitively converted him to surrealism,
not changing the conditions of production, but locating life elsewhere.
Nadia, this is a as you can see, this is a state with one of the first photographs in Nadia, like Paris Peasant.
It's in direct line of descent from the Parisian fantasy journals like Apollinaire, as if that were the fellow.
They believe in their vows. We don't know. It's a many layered book, very complex.
The central part is in the form of a diary recording his encounter, an affair with Nadia wandering aimlessly towards the opera.
He saw a young woman who had the most astonishing eyes, like there's a pistol, mobiles, women and put on a cost.
And I think when one should say this, that that time, indeed.
Up until this whole Paris woman alone in the streets was regarded as fair game.
So one has to bear that in mind that these encounters are very often extremely even.
The story calls of Nadia is very sad, and it ends tragically for Nadia, at least, who is finally locked up in an asylum.
The photographs by Buffo such as this one would capture underneath.
We sat outside and was served by the wine cellar.
As I argued in the top of him, the sweetest text, then mysteriously deadpan, even banal.
And Luke Burton said he regretted the magic that he thought man could have bought the job.
While false photographs correspond to the purported documentary character of the text,
and the anticipation is not his French capacity to foretell events in chance for time or time.
They wonder that most of the time spent together and wandering through the streets of Paris.
And every now and again, Nadia says to prophesied something is going to happen.
When they're sitting at this table, she looks at some windows opposite in the square and says, in a few seconds his windows will light up red.
And of course, they do. And Britnell always had this sort of side open to the notion of of the of the pathetic to the beyond.
And on another occasion, this is another photograph of the of the fountains and the looks like gardens.
They've they've had an extremely intense experience walking through the streets and they reach this fountain.
And Nadia looks at the jet, the water and the way it separates the federal shape that separates at the top and says,
this is like your thoughts and my thoughts. They rise together, but then they fall apart.
And this happens to coincide with an illustration for a book that I have been reading that very morning on Bishop Berkeley,
which uses exactly the same image of the faults of two people rising together and then falling apart.
So this is just to give you an earthly idea of of of the book, the the curious,
the curious kind of happiness of the photographs is in real contrast to the photographs of Paris at night by I,
the one of the writers of talks and Jacques,
and that one was used by Otome to illustrate the different and come to a different love affair, this time one that was successful.
That is more who. And these are. Those see the tower in level crew and level four.
Also, of course, in the more Fukino race, some very famous chance encounters being the encounter,
for example, in the free market, which he and Jack Dimity were visiting.
Of two objects, both of which corresponded to something that each desired, a peasant spoon on the left, which has a tiny for a little shoe.
At the base of the handle and found that he couldn't.
He was transfixed by it. And so he bought it. And in fact, it remained in his collection to his death.
A large wooden spoon. He finally worked out.
The reason it's so fascinated him was that it corresponded it answered to date,
answered a longstanding desire that he had had for Jack to make him an ashtray.
And the it's it's the pump pail. Somebody something with the reference to Cinderella.
Little Asho and the Sippel in the back of the spoon.
So a whole set of a web of associations around this chance encounter.
And the committee on the right, the invisible object.
You can see the face is in it to restock things.
Now, earlier photographs show that sculpture with much more of a human face, which Chapman is not happy with.
And he was searching for a solution to it. And he found it in a hurry.
He found it in a fencing mask or possibly people thought it was a fiasco or mosque
at the time whose planes gave him the answer to this to this simplified form.
So those examples used in all of the workings, if you like, objective chance for which it is necessary to be able to wander in the streets.
I wanted to refer to I would have liked to have shown you the people with this this video.
This is a video that was used in a subversive space, missions versus spaces.
I felt that in Oxford, it's fair enough to refer to buy supplies as a form of laundering as well.
So I just wanted to compare to contrast to videos, both of which use classical as a kind of as an entry into the city.
This is one of whoknows video. I'm free.
Just this photograph doesn't give you a sense of the absolutely heart stopping
character of this video and just see the bicycle handlebar on the right hand side.
He rides his bicycle without hands through the streets of Manhattan and the camera's attached to the front of the behind.
I suppose it is attached perhaps to to him.
And so that the whole of this this extraordinary journey, which is death defying journey, is is recorded on video.
And I wanted to compare it with a very famous sequence from.
From a shout out from the film by Dulli and Buñuel,
this is a sequence that occurs after the other the terrible sitting of the ice and maché that the point I
want to make here is that there is there is an innocence aspect of a kind of thin feminine to the fana,
to the wonder of someone who. Could be seen as a passive observer.
Even if they're looking for something. The passive observer.
And I think that it's very interesting here that the kind of hero anti-hero who's whose gender is actually very, very mobile.
Let's say in the whole of the film is shown apparently wearing some curiously feminine garments.
He's cycled through the streets aimlessly. It's like he's a flat out the bicycle.
And then he come to is with with a woman.
The international sports exhibition at the gallery goes out in Paris, 1938.
It was the first exhibition that attempted to replace the gallery space with a complete other environment.
It was, with the exception of Sundara exhibitions, the first example of what has become a commonplace today.
That is an installation. There was no distinction between about stage, prop farm and symbolic objects.
And it does start in a sense with this starts with the street.
The visitor past dallies Israeli taxi in the courtyard traversed a street of mannequins and entered a dark interior.
Is there any taxi in the foreground there? And Marcel two shows a mannequin dressed in his own jacket from the street.
And then you reach the one of the interior rooms and it's completely dark.
The floor is scattered with leaves and branches and braises glued in the corner.
The environment, the some was was hung with sacks of coal dust.
Creating a grotto or a mine or a labyrinth affect the environment designed by Marcel Duchamp.
That was the opposite of the King Gallery A. What we call the white cue.
And it sought to make present and palpable to the spectator the notion, the dark passages, the labyrinth haunted by the Minotaur.
Well, analogy for the unconscious, the reaction of press and public was ferocious.
The death of surrealism was announced, but they were also accused of gratuitous bad taste of revelling in decay and destruction.
As Goodman said in the preface, the 1947 sort of exhibition about about this show, he says,
Who ruins it only by a stove cowering under a chandelier composed of twelve
hundred sacks of coal or pinned down with an unmade brothel bed in each corner,
one with a single leg and read fringed pool. The signs with such names as Weak Street, All Devils, Street Blood transfusions, street and the like.
All this has since assumed only too much.
He proved what clairvoyance, unless it saw into the future and justified itself all too thoroughly in terms of gloom,
suffocation and evil to those who then accuse us of taking morbid pleasure in the atmosphere.
Isn't it too easy for us to demonstrate that we will Mauldin's itself compared to the city as quoted that was to come?
So so the accusation that this this was it was it worked for telling the wall, foretelling the collapse of Paris.
Is something in a sense that a lot of sets and quit quote it again, looking back on surrealism.
He he saw sort as his parfum in the 30s as a negative conditioning or doomed society.
My quote of the European catastrophe, the shocks of soon, we lost that part.
It is as if they saved Paris by conditioning him to fear the fall, to fear the fall of the city.
It was their target that I wanted in this sector to to show you two little vignettes of
contemporary artists in the context of of the available themes for city map and myth.
I know I don't have time to do both of them now, so I will I will go a bit faster.
The first artist is tested theme.
And what I want to look at was an exhibition and book that she made of of the exhibition called An Aside.
I think it's not that it's it's it's sort of expressing this is richness that the reference destroys and works for the rich in this in this book.
And aside, began as a metaphorical walk along the way,
revisited the work of surrealism of artists tested in explained in the introduction that it was a show created through a meandering,
ill formed thought process for the mind you just of incidents can and have instructed major decisions.
I described it as a process of objective chance. I concur.
She goes on with Andre Breton when he said that the objective chance process being about external circumstances,
acting in response to the unspoken desires and demands of the human psyche.
I have begun to recognise myself. My hands are not so much the work of others, but in the connexions between them.
She begins the book with Lot Baumgarten slide projection piece called I Like It Better There Than In West Failure Elderado 1968 76.
Baumgarten photograph details of vegetation and human rubbish along almost swampy and polluted stretch of the Rhine between Dusseldorf and Clinton.
He also recorded the noise of the river and made some track that seemed to come from the Amazon rainforest in the complete installation.
And you could see a green stocking and under hosepipe painted like a snake in the eye of a frog will from from the Bumbo.
Immediately with. I like it better here than in Westphalia. The association's intestines exhibition and book fork.
The quotation is from Voltaire's Candied Candied arrives in a shiny handed Elderado go to go to them and says, Does it come as a country?
Bettmann West father detested in deliberately start her journey with a reference to
Candy after whom the data that his first literary cabaret was named in Zurich in 1916.
The Cabaret Voltaire convened, as Hugo Boss said, against the Times.
She doesn't say the book is full of that kind of association,
but the reader or viewer of the show might make for themselves the thread of associations,
and the book demands it because it's a book demanded to be Línea Not In Along the way.
Raymond Haynes. This is. This is the group of photographs called Tili Objective Charts of 2004.
And Haynes talks to her about Duchamp and shoot them. And they wonder about the influence of Bennett's novel,
the way that the Green Ray on Duchamp Keyes's installation for the fourth superstitions in the 1947 Smatter Experience Realism.
Science fiction is actually a recurring theme in the book,
and it's one that I would would would have wished to develop further in relation to surrealism.
These landscapes imagined, as you might imagine, just future.
Placed on manmade wastes. And I think that J.P. Ballard has extraordinarily close ties to sir.
It is not just to US landscapes, but to the ideas here,
to the notion of the of the of the extraordinary discovery on a on a journey Hampson's film you see on the right hand side.
This there's a still from the film which was apparently shot in the desert.
And that particular focus is on wrecks and abandoned objects like the watercolours that that Dean also uses by some on the left.
He called this the film's called Phantom McGarr. Apparently, in the course of filming it,
they they filmed the coach load of people who to them and the whole thing is filmed when they came to protect the film.
It wasn't there because the whole thing had been a mirage.
I'm not quite sure how that works, but a phantom ocana, of course, is the is the name of the shapeshifting, Morgan Le Fay.
Who who does it work? And is is the name of a particular kind of mirage of optical effect.
A quotation from the film In Paradise Brings Me Happiness that you find.
Gates Without Borders leads to natural steps in the field.
Yes. Watch the photographs by Nash and by Alan Hagar.
Small, far black and white images of things found in the landscape, some natural, a few manmade, with many people most stopping in Diem's exhibition.
They belong to them. Precious, quite small history of surrealism in England,
the meeting of Nash and a girl on the beach in Dorset in 1935 when Nash introduced her to the circus idea of the found object.
And together they come to the shore. These are these are these these are teenage girls visuals of the looks and photographs by Nush of tree trunks.
And his his montage of some of the things they found on the beach called Swanage.
The far right hand sort of seems to think that this is looking out of the picture.
In fact, was an object found by a girl that love curve, an old anchor chain covered in barnacles,
shells and pebbles, aigo stones photograph to prove nothing.
Britany so tightly frame put that on almost like Kissel's giving the rocks the character of amongst months ahead.
But as Dean says, they are their own meaning and context and mutation form.
And whereas the standard stands as a degree of Stonehenge or on duty,
it must bear the burden of human purpose and design the rocks at proving that a baffsky satisfied and open to liberty and reimagined issue.
Now she so believe the unconscious could manifest itself in puns and matched objects
found in the landscape in paintings like it bent on the Doffs 1934 painting.
But what are the trees down? Tennis ball. Why do it again?
Yes, fact. They born of a chance encounter. Why is the energy of these two objects so compelling as a lights?
As they sit side by side in the foreground of the landscape, it feels drained of its colour.
Under the grey monochrome sky. And what about the food and the folk track?
It's precisely because the riddle is insoluble that we have held.
By estimates, these amongst the rich connexions acidity follows an imaginary meander through 20th century art.
Remind us that story is wonderings, but not exclusively for the city.
The second part is maths, and I'm going to I'm going to try to condense this a little bit.
I wanted to compare and interesting to compare Paris hasn't ever gone with the situation is bereave, as it is called,
developed by the to go Paris because was improved protest that the destruction of an old Paris of Arcade's.
And that's a resistance to the new order imposed by the Grand Apennines.
The situation is heavy. It was theorised at length, considerable length by Dyball as part of an analysis of urbanisation,
which the situation is understood as a form of control. By increasing the means of maintaining order in the street.
In the end, the street itself is suppressed. The disease is a form of resistance to the one way world of modern urban living.
Drifting through the streets and the debate, trying to lose oneself in the city.
It was, and I quote, a mode of experimental behaviour linked to the conditions of urban society.
A technique of finding passage through various embassies such as Meatball's Naked City deliberately countered the one way world of the modern city.
See the arrows pointing to in two directions.
Introducing the notion of psychogeography, the study of the specific effects of the geographical environment, consciously organised or not,
on the emotions and behaviours of individuals, obviously based on the surface excursions and appeals to chance.
The situation is actually rejected.
Surrealism, ostensibly, if it's continuing belief in the unconscious and automatism, accusing it of tending to the occult.
Now, I go to compare that very quickly with a mapping project by the Argentinian artists, Hockey Mackie.
This is 2004 in his three Winners' Arrows, and he produced a box work called Buenos Aires Tour.
Mackey began by fracturing a pane of glass,
which you can see on the left and smashing it and then superimposed this smashed glass on a map of when assize.
The fracture lines created eight itineraries. The 46 stops.
The hole is marked and coloured to resemble a London underground map.
Mecca had recently returned from a residency in London and with the mapping project he planned to reorient himself in his hometown.
He, a composer and a poet, followed the Mopti to his collecting objects, knitting countless associations and stories of the city and recording songs.
The seedy roaming the box takes one on journeys that seem to follow the itinerary, but each pic puts one on a different path.
It is thoroughly disorienting and set in the very opposite of a map of the city.
It's a labyrinth without a thread. It demonstrates the way that what one what one thinks one recognises is rendered strange, provisional fitting.
Each journey will be different for the tourist who accepts the invitation to follow this chance based itinerary.
Evelyn Jager recalls Focus's book, as is the Garden of Forking Paths,
in which the labyrinth turns out to be not a physical place, but rather a novel in which alternatives are chosen simultaneously.
Thus creating branches, amplifications, chance choices in a multitude of possibilities.
The chance gestures inaugurated Buenos Aires tour with this alternative map is, I think, little different from the surrealist Furneaux wonderings.
The conditions for the chance encounters are actually set up in advance in the studio charts.
Here is closer to Marcel Julian's idea of canned or tind chance experiments with chance.
And I it was a curious resemblance, in fact, to Mackey's map is a do shows network of stoppages.
Each of these three, as it were, itineraries is three lines is based on the the three sets of string.
This is from his his work call three standard stoppages.
And is very important aspect of all of the operations of chance and the idea about chance and the workings of chance,
the way his office might use chance for the 20th century. He would also link it to Mitt effectually.
In this case, Duchamp took three metres of string and dropped each.
From the height of a metre and stuck them down where they fell, thereby creating a new unit of measurement.
But also, I think his idea was to just slightly disturb this, orient the notion, this ideal, the myth of the perfect metre.
The metre exists in a in a very carefully preserved form in France, but was actually based on a misunderstanding about the measurement of the earth.
So the fact that that is a curious kind of myth that the.
I'm saying that that chance. In his case, I think it is this closer to this kind of experimental chance than it is to the theory or the wonder.
I'm going to run past this because I'm sorry I'm running out of time a little bit.
But I wanted to just make a reference to Francis and.
Again, I think his his work, in a sense, I would see as I think potentially punctuating the whole of this talk.
And had I been more adept at trying to make things work,
I would have tried to show you fragments of the video of to which this little drawing and map relates.
And that is the Gods video, which was done on the archangels guidance in 2003.
I didn't believe you have seen this video, but it shows I didn't how he organised it.
An empty city, an empty London and a single God walking through the streets.
Gradually, he's joined by other gods. And it's an extraordinarily evocative film of what appeared to be kind of chance meetings
that mapped on very carefully mapped onto this this some this map of London one.
What an interesting example of, as it were, planned and organised. Well, not Francis Ellis himself actually go out and country things.
It's a very, very interesting and very important piece. This is this is a little crack in poverty there.
We've got five minutes. The this, of course, is is my great senior peasant peep, which I felt I had to put him at some point.
So it was and this is slightly, slightly strange connexion, but I just keep a very quickly look at the second vignette Panopto should I have?
And that is the Brazilian artist, Silvo Mary-Alice, who I mean,
this sense is he a latter day surrealist and introducing his work in this context that goes against the grain, that much critical writing about him.
However, I think that his work. So each one is original.
Unlike its predecessors, I think they renew and change ideas and practises that grew originally under the umbrella of surrealism.
New configurations of the unconscious chance encounters disorientation through the use of scale or juxtaposition,
subversive spaces, obsessional collections of disparate things GAMES' humour, the rethinking of the readymade,
which even links it to Margreet Mireles described his work as taking a new direction from the
concept he likes very much Confucians readymades and he makes a wonderful leap to the Margarete.
This is not a pipe.
And the parallels he sees is between the descriptive authority minus the representation is not the real thing and that the readymade is a work of art.
If the artist says that redshift is in three parts,
it physically constructs an imaginary place where someone, because of preference or mania, accumulates.
The greatest possible number of objects in different shades of red preference
mania actually indicate two different modes of relating to the world around us.
Preferences here are a mild term for collecting, which is often compulsive.
But mania could also indicate a different kind of compulsion.
The paranoiacs delusional interpretation of the world according to a single, rational but consistent idea.
For his my nude sculpture, Southern Cross Paratus coined the term baroque humility, minimalism.
It is, he says, exactly the opposite of American minimalism, which is devoid of any symbolic or discursive intentionality.
The minimalist and conceptualised artists of the 1960s in the US and the UK.
Anything sociological, psychological, personal was art. An object was what it was, nothing else.
Southern Cross, by contrast, is loaded with stories, mythologies, symbols.
It's a nine millimetre squared cube of two wooden sections, oak and pine.
These words are sacred and trippy cosmology to divinity tupa, whose presence is evoked in the far created by rubbing them together.
It is draws attention to the patronising simplification by Jesuit machines with very complex cosmology in cosmology,
the helplessness of the almost invisible tiny cube.
It stands for the precariousness of the Indian presence in Latin American space and for the persistence of myth.
And I am very quickly going to end with reference to the surrealists attitude to myth this.
I will turn to. Very fast. This this.
The catalogue for this exhibition, which is the 1942 first papers, are served as an exhibition in New York,
included an album arranged by Britain called on the survival of Certain Myths and on some other myths in growth or formation.
Amongst these were both Wansley grown close to home, Rambow Triumphant Science, The Andrew Gyun, The Killing of the King,
Interplanetary Communication, Artificial Man, Icarus sorry, Icarus, Orpheus and the Golden Age Installation.
The exhibition by Duchamp consisted of gaping nets of string while the like interwove and
rigging the difficulty of coming close to examine the works in detail in possibility,
discerning from any angle an unbroken plastic pole prefigures in striking fashion.
The disquiet we feel today here, but was writing in the catalogue.
The 1947 International Surrealist Exhibition in Paris. The sense of the inadequacy of any single work of art to express that disquiet.
The need to ask more to continue through disorientation,
to challenge the narrow concept to the real was felt as acute in the post-war years as it has.
As it had been in the early twenties, Gio's baptise text, The Absence of Myth was also published in its catalogue.
The exhibition itself was dedicated to ritual, the esoteric ideas of initiation.
The sweetness had anticipated Joosh Bettye in recognising the absence of myth in the modern world.
But rather than accepting his exalted, rationalist argument that the absence of myth was the only truth,
they persisted in the belief that a mythology of modern could be even perhaps was in the process of formation.
I were gonna call the first part of Paris peasant preface to a modern mythology the disquieting atmosphere, places where the living pursuit,
particularly ambiguous activities, dwells in the inanimate forms which any dreams will stop to interrogate.
The wealth myth had been devalued by the 1940's and referred to something that was as we Frade used the word still today.
Something is by definition false, both by time and this realist's.
So we're convinced that this is profoundly misguided.
Without committing themselves to more than an open mind about what they might be. But en route,
this is not the moment to stake out to to the thorny question as to whether the absence of myth is in itself a myth despite nationalist protests.
Everything occurs today as there's suffered relatively recent poetic and plastic works,
exercised a part of the people's minds incomparably stronger than that of the work of art.
The final paradox ending with this quickly is that it is the experience beyond got initiated by Dutton Serialism Insulation's situation.
He's walking debris, collecting happenings, found objects, used charms that artists have continually returned to.
Does this equate to a final specialisation? What began as an art or an art?
Was Duchamp prefer to call it? I actually don't think so.
I think that space is still held in in many cases,
in many cases by artists who are working with and against the traditions I've been talking about in in a kind of critical space between art and life.
Thank you.