1 00:00:00,450 --> 00:00:07,310 Well, the tougher the lecture comes from this small book about forces, 2 00:00:07,310 --> 00:00:16,230 police whose full time is everything I saw or heard, dead or wounded, understood or misunderstood. 3 00:00:16,230 --> 00:00:23,970 Walking distance from the studio and historical centre of Mexico City published in 2006. 4 00:00:23,970 --> 00:00:34,870 This is a Belgian artist who's lived in Mexico since about 1990, and he writes usually in English. 5 00:00:34,870 --> 00:00:43,190 This is a typical little list that he prepared with. 6 00:00:43,190 --> 00:00:47,980 So you the spirit. As I was, I'm walking. I'm not choosing and not smoking. 7 00:00:47,980 --> 00:00:53,500 Not music. I'm not making. I'm not. I'm not for. I'm a painting. I'm not hiding. 8 00:00:53,500 --> 00:00:59,800 I'm not caught him adding. I'm not crying. I'm some. 9 00:00:59,800 --> 00:01:12,810 And it's the I'm not making public. Is so. So I suggested about about his walk's. 10 00:01:12,810 --> 00:01:20,670 One of the books in this book is called Reenactments and 2000. 11 00:01:20,670 --> 00:01:25,400 And I have had to show you a fragment of the of the video. 12 00:01:25,400 --> 00:01:34,310 Some of this probably just as well because of the time I can't put it off. 13 00:01:34,310 --> 00:01:37,870 It what happened was we bought a gun and he's. 14 00:01:37,870 --> 00:01:44,320 And he walked through the streets of Mexico City for, well, quite a long time, 15 00:01:44,320 --> 00:01:52,540 I think for about ten minutes or more before he was stopped by the police and temporally arrested. 16 00:01:52,540 --> 00:01:58,780 The police then agreed to re-enact the whole scene under the guidance. 17 00:01:58,780 --> 00:02:04,450 So this this is just one example of a walk. 18 00:02:04,450 --> 00:02:13,240 That's a kind of provocation. There are many different kinds of walls that are did. 19 00:02:13,240 --> 00:02:17,800 And I'll come back to the point about he makes his list when I'm not walking. 20 00:02:17,800 --> 00:02:21,150 What one I am not working. 21 00:02:21,150 --> 00:02:32,440 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, 22 00:02:32,440 --> 00:02:39,100 really, since the passage of the 19th century. And Dr. Benjamin talked about food, less flannel, 23 00:02:39,100 --> 00:02:47,200 strolling the Paris streets as someone directly opposed to the bustling industriousness of the city 24 00:02:47,200 --> 00:02:54,400 down with dawdling was the watchword of the Taylorism and its analysis of the efficient assembly line. 25 00:02:54,400 --> 00:02:57,500 So Will Cain has been at the origin of events. 26 00:02:57,500 --> 00:03:06,190 The situation is that at least all his friends have recorded, and it's been a form of discovery of subversion, sometimes of satire. 27 00:03:06,190 --> 00:03:16,510 I'm reminded of this particular re-enactment of one of the famous dug out phrases from Ojha, whose embarks on a vendetta, 28 00:03:16,510 --> 00:03:28,330 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. 29 00:03:28,330 --> 00:03:34,050 He talks quite a lot about living in the street, about using the street as a site. 30 00:03:34,050 --> 00:03:45,520 And he did about also walking aimlessly along, fixing up the philosophy, the supper and walking for 40. 31 00:03:45,520 --> 00:03:49,700 Sallie's has been, amongst other things, resistance to the pace of modern life. 32 00:03:49,700 --> 00:03:58,660 Like quit walking in particular, drifting or strewn is already within the speed culture of all time a kind of resistance. 33 00:03:58,660 --> 00:04:08,380 One of the actions he took in Mexico City was to join the line of unemployed workers touting for jobs who 34 00:04:08,380 --> 00:04:15,760 gather daily by the railings of the cathedral in the Zocalo with his sign tourist alongside the plumber, 35 00:04:15,760 --> 00:04:16,990 painter, electrician, 36 00:04:16,990 --> 00:04:28,030 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. 37 00:04:28,030 --> 00:04:32,470 What would it have meant if he let it artist rather than tourist on his card? 38 00:04:32,470 --> 00:04:34,710 Anyone who bought him. 39 00:04:34,710 --> 00:04:49,570 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, 40 00:04:49,570 --> 00:05:01,180 the subversive use of taking to the streets. I had planned this connexion, this link from these two to this this incident, 41 00:05:01,180 --> 00:05:08,590 which is the visit to centrally and approved by the Paris data group in April 1921, 42 00:05:08,590 --> 00:05:18,570 and then found that those in her essay for the Exhibition of Subversive Spaces does exactly the same thing. 43 00:05:18,570 --> 00:05:20,320 And her essay, quote, 44 00:05:20,320 --> 00:05:29,110 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. 45 00:05:29,110 --> 00:05:36,250 But then. I just want to note that this this this connexion I find very fascinating. 46 00:05:36,250 --> 00:05:41,920 This is at the height of Dada's notoriety in France and the visit. 47 00:05:41,920 --> 00:05:50,250 You can see here they are standing in the fog mist in front of centrally on the povo. 48 00:05:50,250 --> 00:06:00,460 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. 49 00:06:00,460 --> 00:06:13,000 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. 50 00:06:13,000 --> 00:06:18,640 It was a parody of the regular guided tours of Paris, which usually took place on a Thursday. 51 00:06:18,640 --> 00:06:23,320 There was also an element to clericalism, the choice of a church for this visit. 52 00:06:23,320 --> 00:06:33,130 And it was intended as a manifestation. They tend to stand in silence until the crowd expecting a guided tour was goaded to react. 53 00:06:33,130 --> 00:06:40,680 However. Unfortunately, it was pouring with rain and the crowd of about 50, it was getting to sing out. 54 00:06:40,680 --> 00:06:48,690 So the denyse decided that they would speak. After all, some of this is recorded in the newspapers at the time. 55 00:06:48,690 --> 00:06:53,450 Huh? I'll bet on that. Tell us what you expect us to do. 56 00:06:53,450 --> 00:06:59,690 Sentence. One thing we will never come to anything that neither will you. 57 00:06:59,690 --> 00:07:01,650 And Zaha declaimed. 58 00:07:01,650 --> 00:07:15,470 Taxi Schuh hacked Camembert Dancing Ministry, Friendship, IFAB pants, gasometer affection, literature, household produce something. 59 00:07:15,470 --> 00:07:19,320 You've still got time to write 80 volumes. I hate that. 60 00:07:19,320 --> 00:07:27,150 So this is provocation, but also underneath it that there is this this constant theme of being against the production. 61 00:07:27,150 --> 00:07:34,590 The productive industrial city being. Being against work. Now, the visit was understandably regarded as a failure. 62 00:07:34,590 --> 00:07:41,510 And it wasn't repeated. The participants wandered off to the cafe with a taste of ashes in their mouth. 63 00:07:41,510 --> 00:07:46,710 And it was one of the experiences that eventually left a rift between little and saw the collapse 64 00:07:46,710 --> 00:07:57,540 of data and the removal of the veto in creative activity that came with the funding surrealism. 65 00:07:57,540 --> 00:08:05,780 And I'm just putting up for movement moment. I can't possibly encompass the full extent of of that. 66 00:08:05,780 --> 00:08:11,310 So the interest in an active engagement with street and corporate life. 67 00:08:11,310 --> 00:08:16,890 This is just one instance of letting them talk by hand to her, 68 00:08:16,890 --> 00:08:26,820 which uses scraps of newspaper newsprint for two footers from the popular press as part of the of the collage. 69 00:08:26,820 --> 00:08:36,360 About Guta, about. Well, what is that? This extraordinary circular circular construction around a headless. 70 00:08:36,360 --> 00:08:42,250 Don't sell this. 71 00:08:42,250 --> 00:08:50,730 That manifestation, the failed anti tourist visit to Central in the Cove is part of the history of Paris Guta. 72 00:08:50,730 --> 00:08:57,090 But this is now not its only interest or value contemporary practises until now. 73 00:08:57,090 --> 00:09:04,050 We now have not only revived interest in this history and in actions of this kind, 74 00:09:04,050 --> 00:09:15,910 but invites us to look again at the possibilities of the historical events and aspects that may seemed less important at the time. 75 00:09:15,910 --> 00:09:26,340 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. 76 00:09:26,340 --> 00:09:29,670 One aspect of both Dada and surrealism has come. No kidding. 77 00:09:29,670 --> 00:09:37,710 Focus in the last couple of decades is an attitude to history itself, to the past and to progress. 78 00:09:37,710 --> 00:09:45,780 That attitude was wholly out of sympathy with modernism, the First World War and the devastating revelation that destructive powers of 79 00:09:45,780 --> 00:09:50,750 bomb technologies that have promised peace and prosperity lies behind that. 80 00:09:50,750 --> 00:09:56,310 One invitation only centred on the flyer, and I quote. 81 00:09:56,310 --> 00:10:04,830 Taking part in this first visit is to recognise human progress and potential disruptions and to what extent this attitude, 82 00:10:04,830 --> 00:10:13,860 the sceptical attitude, this resistant attitude to progress is really negative is a very large question that I can't really go into. 83 00:10:13,860 --> 00:10:24,090 But in conjecture that I want to quote from Theodore Bolaños essay, looking back on surrealism from the 1950s. 84 00:10:24,090 --> 00:10:27,360 And he wrote it so it isn't it seems obsolete. 85 00:10:27,360 --> 00:10:35,490 It is because man himself refuses the consciousness of the Annunciation, which was fixed in the negative of surrealism. 86 00:10:35,490 --> 00:10:42,720 That is, I would argue, surrealism and dada no longer seem so obsolete. 87 00:10:42,720 --> 00:10:48,900 Is it because there is acceptance of this renunciation fixed and the negative of surrealism? 88 00:10:48,900 --> 00:10:51,540 Well done. Answer. It doesn't seem this obsolete. 89 00:10:51,540 --> 00:11:01,110 Not least because as we cease writing the history of modern art in terms of isms and look beyond categories and stylistic boundaries, 90 00:11:01,110 --> 00:11:07,920 the ideas, attitudes, the strategies of those involved in these movements come into focus in a different way. 91 00:11:07,920 --> 00:11:16,800 So, for example, the possibilities of chance, the potential of wandering the readymade and the found object then classifiable notion. 92 00:11:16,800 --> 00:11:24,510 The interesting conundrum of the form have all come alive again for artists as well as for critics. 93 00:11:24,510 --> 00:11:34,200 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. 94 00:11:34,200 --> 00:11:40,290 And what I mean, I would say is that I'm not thrilled by the influence of surrealism on contemporary practises. 95 00:11:40,290 --> 00:11:48,410 I'm talking about the way that contemporary practises actually throw a different light on them and an office do do there. 96 00:11:48,410 --> 00:11:53,330 But I think it's not certainly in the name of surrealism, 97 00:11:53,330 --> 00:12:01,440 but I think what is being what is being thrown up by these practises now in relation to what 98 00:12:01,440 --> 00:12:07,140 citizens did is it sort of gives it a different position in the district of this century, 99 00:12:07,140 --> 00:12:16,710 Art. Now, I didn't have time to talk about the entire thing, but I just say a little bit about the readymade. 100 00:12:16,710 --> 00:12:29,220 This is the first really a like 1914, which, of course, has had probably more impact on this century, outperforms any other object. 101 00:12:29,220 --> 00:12:37,200 I would hope that it still occupies a kind of vogue between the household object and the work of art. 102 00:12:37,200 --> 00:12:39,420 So this obviously is much disputed. 103 00:12:39,420 --> 00:12:49,890 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. 104 00:12:49,890 --> 00:12:56,340 And I put this up because people find the copyright nowadays such a mysterious object that we're not familiar with in our kitchens. 105 00:12:56,340 --> 00:13:05,910 But I wanted to show it is something that was once used. 106 00:13:05,910 --> 00:13:14,910 Photography and film and video have become both documented actions and objects and as mediums to explode in their own right. 107 00:13:14,910 --> 00:13:23,400 Extremely important in here. The artists above on surrealism, I think were again, pioneers. 108 00:13:23,400 --> 00:13:31,800 I really hope not to socialism's greatest productions, greatest books. 109 00:13:31,800 --> 00:13:38,130 I wrote Arrogance, Paris Peasant and Britain's Nadia. Both which innocence about walking. 110 00:13:38,130 --> 00:13:42,110 Both of which record excursions into a city made strange. 111 00:13:42,110 --> 00:13:49,530 And I think in both cases the books are kind of conducted in the knowledge of the photographs of Yujing at Jay, 112 00:13:49,530 --> 00:13:52,350 who spent his nights photographing Paris, 113 00:13:52,350 --> 00:13:59,340 sometimes commissioned to take particular photographs of the architecture, sometimes just following his own interests. 114 00:13:59,340 --> 00:14:09,390 He was completely unknown when he was kind of discovered by by the surrealists, as Walter Benjamin said, that J. 115 00:14:09,390 --> 00:14:17,310 In his small history of photography. And I thought he looked for what was unmarked, forgotten, cast adrift. 116 00:14:17,310 --> 00:14:22,590 And thus his pictures work against the exotic, romantic and sonorous names of the cities. 117 00:14:22,590 --> 00:14:27,830 They pump the aura out of reality like water from the sinking ship. 118 00:14:27,830 --> 00:14:35,320 Actually, it was always passed by the great sights of the so-called landmarks that it did not pass by. 119 00:14:35,320 --> 00:14:47,780 It was a long row of boot blasts or the Paris courtyards or the tables after people had finished eating and left or brothel. 120 00:14:47,780 --> 00:14:58,830 At number five, you would think that this is offering for the surrealist the scene poor sanitary estrangement between man and his surroundings. 121 00:14:58,830 --> 00:15:07,260 It is, though, an estrangement from the exotic tourists snap or the city ordered and productive in work. 122 00:15:07,260 --> 00:15:11,520 The service found in that case photographs from misfit, hitherto unrecorded, 123 00:15:11,520 --> 00:15:22,290 hidden every day, which would unexpectedly trigger desire for freedom of the unknown. 124 00:15:22,290 --> 00:15:29,470 But this is an example of the service adopting and diverting one about Jay's photographs. 125 00:15:29,470 --> 00:15:37,910 It's not. So it's on David's side. This is a photograph of people gathered in the past dome observing an eclipse. 126 00:15:37,910 --> 00:15:43,130 Actually, the puppet of black at the side is is the cover the camera cover. 127 00:15:43,130 --> 00:15:50,360 I mean, he didn't care about the public profile. There's people standing, looking up at the sky and the service abuse. 128 00:15:50,360 --> 00:15:54,340 It's the cover of the magazine. 129 00:15:54,340 --> 00:15:59,350 I've only seen two ladies with the title, the latest conversions. 130 00:15:59,350 --> 00:16:09,950 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. 131 00:16:09,950 --> 00:16:19,320 So this is the first example of them changing the way, changing the photograph with a different group, with different captions. 132 00:16:19,320 --> 00:16:24,650 Unfortunately, after the last book, past hasn't is not in its fake, it actually a photograph. 133 00:16:24,650 --> 00:16:31,550 So when one feels that it could be. 134 00:16:31,550 --> 00:16:41,870 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, 135 00:16:41,870 --> 00:16:49,280 starting with a mythological conception of the world and leading towards materialism, which is not achieved in the final pages of the book. 136 00:16:49,280 --> 00:16:53,050 But only promised within the terms of the proclamation. 137 00:16:53,050 --> 00:17:04,640 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. 138 00:17:04,640 --> 00:17:13,050 Peasant as I will become a muscle, no aimless and in a state of spiritual frustration, visit the park. 139 00:17:13,050 --> 00:17:19,490 Did it show more at night coming into the column at the highest point of the park? 140 00:17:19,490 --> 00:17:24,130 While Paris below them is fog shrouded, they deciphered, but a lot of matches. 141 00:17:24,130 --> 00:17:27,320 The inscriptions on the four angles of the column. 142 00:17:27,320 --> 00:17:39,950 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. 143 00:17:39,950 --> 00:17:43,550 Hasn't since it administration in Paris. 144 00:17:43,550 --> 00:17:52,940 Hasn't that. Is this a transcription of the inscriptions that they found on the column? 145 00:17:52,940 --> 00:17:59,000 This indicator obelisk was erected on the 14th of July 1883 by the inventor 146 00:17:59,000 --> 00:18:06,100 and commercial traveller using their unfortunate routine pay out the lights. 147 00:18:06,100 --> 00:18:15,290 Who thought it sufficient to give the broms the apparatus, the idea that due to the stinginess of humanity, it remained unfinished. 148 00:18:15,290 --> 00:18:22,160 The rectangles which received the mass of the nineteen dismal and Paris itself, you can see that it is a black square. 149 00:18:22,160 --> 00:18:31,070 There were there should be a map of Paris when exact details of the population, churches, hospitals, power stations, 150 00:18:31,070 --> 00:18:38,270 points of the compass of barometer readings inscribed on the obelisk and carefully written down by the bear. 151 00:18:38,270 --> 00:18:45,750 In his view, witness to the belief in an absolute command of the physical makeup and conditions of the country, 152 00:18:45,750 --> 00:18:53,210 an ideal of nineteenth century positivism rendered ludicrous by change is rationalism defeated. 153 00:18:53,210 --> 00:19:01,040 This humorous demonstration, as if he was not legitimate, has this kind of monument supposed it should be? 154 00:19:01,040 --> 00:19:05,960 The information is outdated. The maps are empty. And it reminds us of the flanner. 155 00:19:05,960 --> 00:19:15,980 The students wonder. And later, the situationist with an issue that then if you he will respond to the eligibility of the modern city. 156 00:19:15,980 --> 00:19:25,460 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. 157 00:19:25,460 --> 00:19:32,240 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. 158 00:19:32,240 --> 00:19:38,540 Chance is my only experience has it my social experiment. 159 00:19:38,540 --> 00:19:45,010 So Nadia and Paris peasant, both explorations of the city of Paris. 160 00:19:45,010 --> 00:19:56,270 The Wandering operates in several different registers. It's a form of protest against work and is a potential liberator of design. 161 00:19:56,270 --> 00:20:04,070 The cover of Revolution Survivalist. This this cover number four puts the form that is the form of protest against work, 162 00:20:04,070 --> 00:20:13,260 very stark and manically is posed against some actually like staircase with a caption and war on work. 163 00:20:13,260 --> 00:20:22,250 That is an X-ray fragment corner of of an elaborate staircase on the right hand side. 164 00:20:22,250 --> 00:20:29,140 The image, unfortunately, looks as if it is advocating moneyed leisure and fashion. 165 00:20:29,140 --> 00:20:32,980 And in fact, Bluffton's argument was quite different. 166 00:20:32,980 --> 00:20:44,050 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. 167 00:20:44,050 --> 00:20:55,260 When Nadia innocently expresses sympathy for the men and women returning from work in the second class carriage of Dimitra and says Only love, 168 00:20:55,260 --> 00:20:59,900 John is fine people, but on grounds in fury. 169 00:20:59,900 --> 00:21:08,960 No. That is not the point. I know the servitude people trying to hold up to me as being so valuable. 170 00:21:08,960 --> 00:21:13,760 I pity the man who is condemned to it who cannot generally escape it. 171 00:21:13,760 --> 00:21:21,100 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. 172 00:21:21,100 --> 00:21:27,790 And I would just say that it is this attitude that the Peruvian poet says more. 173 00:21:27,790 --> 00:21:35,360 I was talking about a couple weeks ago, he claimed that definitively converted him to surrealism, 174 00:21:35,360 --> 00:21:41,680 not changing the conditions of production, but locating life elsewhere. 175 00:21:41,680 --> 00:21:50,550 Nadia, this is a as you can see, this is a state with one of the first photographs in Nadia, like Paris Peasant. 176 00:21:50,550 --> 00:21:56,810 It's in direct line of descent from the Parisian fantasy journals like Apollinaire, as if that were the fellow. 177 00:21:56,810 --> 00:22:04,730 They believe in their vows. We don't know. It's a many layered book, very complex. 178 00:22:04,730 --> 00:22:14,150 The central part is in the form of a diary recording his encounter, an affair with Nadia wandering aimlessly towards the opera. 179 00:22:14,150 --> 00:22:23,780 He saw a young woman who had the most astonishing eyes, like there's a pistol, mobiles, women and put on a cost. 180 00:22:23,780 --> 00:22:27,860 And I think when one should say this, that that time, indeed. 181 00:22:27,860 --> 00:22:37,880 Up until this whole Paris woman alone in the streets was regarded as fair game. 182 00:22:37,880 --> 00:22:50,930 So one has to bear that in mind that these encounters are very often extremely even. 183 00:22:50,930 --> 00:22:58,990 The story calls of Nadia is very sad, and it ends tragically for Nadia, at least, who is finally locked up in an asylum. 184 00:22:58,990 --> 00:23:03,620 The photographs by Buffo such as this one would capture underneath. 185 00:23:03,620 --> 00:23:09,950 We sat outside and was served by the wine cellar. 186 00:23:09,950 --> 00:23:17,660 As I argued in the top of him, the sweetest text, then mysteriously deadpan, even banal. 187 00:23:17,660 --> 00:23:23,440 And Luke Burton said he regretted the magic that he thought man could have bought the job. 188 00:23:23,440 --> 00:23:28,710 While false photographs correspond to the purported documentary character of the text, 189 00:23:28,710 --> 00:23:35,960 and the anticipation is not his French capacity to foretell events in chance for time or time. 190 00:23:35,960 --> 00:23:41,650 They wonder that most of the time spent together and wandering through the streets of Paris. 191 00:23:41,650 --> 00:23:47,030 And every now and again, Nadia says to prophesied something is going to happen. 192 00:23:47,030 --> 00:23:56,630 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. 193 00:23:56,630 --> 00:24:09,230 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. 194 00:24:09,230 --> 00:24:17,420 And on another occasion, this is another photograph of the of the fountains and the looks like gardens. 195 00:24:17,420 --> 00:24:23,810 They've they've had an extremely intense experience walking through the streets and they reach this fountain. 196 00:24:23,810 --> 00:24:32,660 And Nadia looks at the jet, the water and the way it separates the federal shape that separates at the top and says, 197 00:24:32,660 --> 00:24:38,810 this is like your thoughts and my thoughts. They rise together, but then they fall apart. 198 00:24:38,810 --> 00:24:51,770 And this happens to coincide with an illustration for a book that I have been reading that very morning on Bishop Berkeley, 199 00:24:51,770 --> 00:24:59,030 which uses exactly the same image of the faults of two people rising together and then falling apart. 200 00:24:59,030 --> 00:25:08,750 So this is just to give you an earthly idea of of of the book, the the curious, 201 00:25:08,750 --> 00:25:17,480 the curious kind of happiness of the photographs is in real contrast to the photographs of Paris at night by I, 202 00:25:17,480 --> 00:25:20,180 the one of the writers of talks and Jacques, 203 00:25:20,180 --> 00:25:29,180 and that one was used by Otome to illustrate the different and come to a different love affair, this time one that was successful. 204 00:25:29,180 --> 00:25:38,450 That is more who. And these are. Those see the tower in level crew and level four. 205 00:25:38,450 --> 00:25:47,360 Also, of course, in the more Fukino race, some very famous chance encounters being the encounter, 206 00:25:47,360 --> 00:25:52,010 for example, in the free market, which he and Jack Dimity were visiting. 207 00:25:52,010 --> 00:26:05,230 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. 208 00:26:05,230 --> 00:26:11,510 At the base of the handle and found that he couldn't. 209 00:26:11,510 --> 00:26:17,400 He was transfixed by it. And so he bought it. And in fact, it remained in his collection to his death. 210 00:26:17,400 --> 00:26:20,960 A large wooden spoon. He finally worked out. 211 00:26:20,960 --> 00:26:25,160 The reason it's so fascinated him was that it corresponded it answered to date, 212 00:26:25,160 --> 00:26:33,050 answered a longstanding desire that he had had for Jack to make him an ashtray. 213 00:26:33,050 --> 00:26:41,600 And the it's it's the pump pail. Somebody something with the reference to Cinderella. 214 00:26:41,600 --> 00:26:45,770 Little Asho and the Sippel in the back of the spoon. 215 00:26:45,770 --> 00:26:51,770 So a whole set of a web of associations around this chance encounter. 216 00:26:51,770 --> 00:26:57,440 And the committee on the right, the invisible object. 217 00:26:57,440 --> 00:27:01,040 You can see the face is in it to restock things. 218 00:27:01,040 --> 00:27:08,360 Now, earlier photographs show that sculpture with much more of a human face, which Chapman is not happy with. 219 00:27:08,360 --> 00:27:13,250 And he was searching for a solution to it. And he found it in a hurry. 220 00:27:13,250 --> 00:27:20,330 He found it in a fencing mask or possibly people thought it was a fiasco or mosque 221 00:27:20,330 --> 00:27:25,920 at the time whose planes gave him the answer to this to this simplified form. 222 00:27:25,920 --> 00:27:41,750 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. 223 00:27:41,750 --> 00:27:49,070 I wanted to refer to I would have liked to have shown you the people with this this video. 224 00:27:49,070 --> 00:27:55,460 This is a video that was used in a subversive space, missions versus spaces. 225 00:27:55,460 --> 00:28:05,090 I felt that in Oxford, it's fair enough to refer to buy supplies as a form of laundering as well. 226 00:28:05,090 --> 00:28:15,890 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. 227 00:28:15,890 --> 00:28:19,980 This is one of whoknows video. I'm free. 228 00:28:19,980 --> 00:28:23,840 Just this photograph doesn't give you a sense of the absolutely heart stopping 229 00:28:23,840 --> 00:28:29,240 character of this video and just see the bicycle handlebar on the right hand side. 230 00:28:29,240 --> 00:28:39,620 He rides his bicycle without hands through the streets of Manhattan and the camera's attached to the front of the behind. 231 00:28:39,620 --> 00:28:43,010 I suppose it is attached perhaps to to him. 232 00:28:43,010 --> 00:28:51,590 And so that the whole of this this extraordinary journey, which is death defying journey, is is recorded on video. 233 00:28:51,590 --> 00:29:00,310 And I wanted to compare it with a very famous sequence from. 234 00:29:00,310 --> 00:29:05,740 From a shout out from the film by Dulli and Buñuel, 235 00:29:05,740 --> 00:29:15,730 this is a sequence that occurs after the other the terrible sitting of the ice and maché that the point I 236 00:29:15,730 --> 00:29:27,670 want to make here is that there is there is an innocence aspect of a kind of thin feminine to the fana, 237 00:29:27,670 --> 00:29:33,570 to the wonder of someone who. Could be seen as a passive observer. 238 00:29:33,570 --> 00:29:37,560 Even if they're looking for something. The passive observer. 239 00:29:37,560 --> 00:29:47,580 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. 240 00:29:47,580 --> 00:29:56,800 Let's say in the whole of the film is shown apparently wearing some curiously feminine garments. 241 00:29:56,800 --> 00:30:02,640 He's cycled through the streets aimlessly. It's like he's a flat out the bicycle. 242 00:30:02,640 --> 00:30:19,870 And then he come to is with with a woman. 243 00:30:19,870 --> 00:30:25,670 The international sports exhibition at the gallery goes out in Paris, 1938. 244 00:30:25,670 --> 00:30:34,120 It was the first exhibition that attempted to replace the gallery space with a complete other environment. 245 00:30:34,120 --> 00:30:39,070 It was, with the exception of Sundara exhibitions, the first example of what has become a commonplace today. 246 00:30:39,070 --> 00:30:46,960 That is an installation. There was no distinction between about stage, prop farm and symbolic objects. 247 00:30:46,960 --> 00:30:50,410 And it does start in a sense with this starts with the street. 248 00:30:50,410 --> 00:30:59,560 The visitor past dallies Israeli taxi in the courtyard traversed a street of mannequins and entered a dark interior. 249 00:30:59,560 --> 00:31:07,900 Is there any taxi in the foreground there? And Marcel two shows a mannequin dressed in his own jacket from the street. 250 00:31:07,900 --> 00:31:15,400 And then you reach the one of the interior rooms and it's completely dark. 251 00:31:15,400 --> 00:31:20,500 The floor is scattered with leaves and branches and braises glued in the corner. 252 00:31:20,500 --> 00:31:25,060 The environment, the some was was hung with sacks of coal dust. 253 00:31:25,060 --> 00:31:31,590 Creating a grotto or a mine or a labyrinth affect the environment designed by Marcel Duchamp. 254 00:31:31,590 --> 00:31:36,410 That was the opposite of the King Gallery A. What we call the white cue. 255 00:31:36,410 --> 00:31:43,240 And it sought to make present and palpable to the spectator the notion, the dark passages, the labyrinth haunted by the Minotaur. 256 00:31:43,240 --> 00:31:50,380 Well, analogy for the unconscious, the reaction of press and public was ferocious. 257 00:31:50,380 --> 00:31:58,750 The death of surrealism was announced, but they were also accused of gratuitous bad taste of revelling in decay and destruction. 258 00:31:58,750 --> 00:32:05,380 As Goodman said in the preface, the 1947 sort of exhibition about about this show, he says, 259 00:32:05,380 --> 00:32:09,460 Who ruins it only by a stove cowering under a chandelier composed of twelve 260 00:32:09,460 --> 00:32:15,170 hundred sacks of coal or pinned down with an unmade brothel bed in each corner, 261 00:32:15,170 --> 00:32:25,810 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. 262 00:32:25,810 --> 00:32:27,900 All this has since assumed only too much. 263 00:32:27,900 --> 00:32:37,450 He proved what clairvoyance, unless it saw into the future and justified itself all too thoroughly in terms of gloom, 264 00:32:37,450 --> 00:32:44,540 suffocation and evil to those who then accuse us of taking morbid pleasure in the atmosphere. 265 00:32:44,540 --> 00:32:55,730 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? 266 00:32:55,730 --> 00:33:07,910 So so the accusation that this this was it was it worked for telling the wall, foretelling the collapse of Paris. 267 00:33:07,910 --> 00:33:15,590 Is something in a sense that a lot of sets and quit quote it again, looking back on surrealism. 268 00:33:15,590 --> 00:33:21,680 He he saw sort as his parfum in the 30s as a negative conditioning or doomed society. 269 00:33:21,680 --> 00:33:27,140 My quote of the European catastrophe, the shocks of soon, we lost that part. 270 00:33:27,140 --> 00:33:32,500 It is as if they saved Paris by conditioning him to fear the fall, to fear the fall of the city. 271 00:33:32,500 --> 00:33:46,430 It was their target that I wanted in this sector to to show you two little vignettes of 272 00:33:46,430 --> 00:33:59,700 contemporary artists in the context of of the available themes for city map and myth. 273 00:33:59,700 --> 00:34:04,640 I know I don't have time to do both of them now, so I will I will go a bit faster. 274 00:34:04,640 --> 00:34:10,850 The first artist is tested theme. 275 00:34:10,850 --> 00:34:23,310 And what I want to look at was an exhibition and book that she made of of the exhibition called An Aside. 276 00:34:23,310 --> 00:34:33,280 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. 277 00:34:33,280 --> 00:34:37,460 And aside, began as a metaphorical walk along the way, 278 00:34:37,460 --> 00:34:46,820 revisited the work of surrealism of artists tested in explained in the introduction that it was a show created through a meandering, 279 00:34:46,820 --> 00:34:53,960 ill formed thought process for the mind you just of incidents can and have instructed major decisions. 280 00:34:53,960 --> 00:34:59,090 I described it as a process of objective chance. I concur. 281 00:34:59,090 --> 00:35:06,080 She goes on with Andre Breton when he said that the objective chance process being about external circumstances, 282 00:35:06,080 --> 00:35:11,570 acting in response to the unspoken desires and demands of the human psyche. 283 00:35:11,570 --> 00:35:20,960 I have begun to recognise myself. My hands are not so much the work of others, but in the connexions between them. 284 00:35:20,960 --> 00:35:32,960 She begins the book with Lot Baumgarten slide projection piece called I Like It Better There Than In West Failure Elderado 1968 76. 285 00:35:32,960 --> 00:35:42,740 Baumgarten photograph details of vegetation and human rubbish along almost swampy and polluted stretch of the Rhine between Dusseldorf and Clinton. 286 00:35:42,740 --> 00:35:51,340 He also recorded the noise of the river and made some track that seemed to come from the Amazon rainforest in the complete installation. 287 00:35:51,340 --> 00:36:07,050 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. 288 00:36:07,050 --> 00:36:16,510 Immediately with. I like it better here than in Westphalia. The association's intestines exhibition and book fork. 289 00:36:16,510 --> 00:36:28,950 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? 290 00:36:28,950 --> 00:36:33,850 Bettmann West father detested in deliberately start her journey with a reference to 291 00:36:33,850 --> 00:36:40,020 Candy after whom the data that his first literary cabaret was named in Zurich in 1916. 292 00:36:40,020 --> 00:36:45,000 The Cabaret Voltaire convened, as Hugo Boss said, against the Times. 293 00:36:45,000 --> 00:36:49,170 She doesn't say the book is full of that kind of association, 294 00:36:49,170 --> 00:36:55,950 but the reader or viewer of the show might make for themselves the thread of associations, 295 00:36:55,950 --> 00:37:01,950 and the book demands it because it's a book demanded to be Línea Not In Along the way. 296 00:37:01,950 --> 00:37:11,640 Raymond Haynes. This is. This is the group of photographs called Tili Objective Charts of 2004. 297 00:37:11,640 --> 00:37:18,180 And Haynes talks to her about Duchamp and shoot them. And they wonder about the influence of Bennett's novel, 298 00:37:18,180 --> 00:37:26,790 the way that the Green Ray on Duchamp Keyes's installation for the fourth superstitions in the 1947 Smatter Experience Realism. 299 00:37:26,790 --> 00:37:31,080 Science fiction is actually a recurring theme in the book, 300 00:37:31,080 --> 00:37:36,240 and it's one that I would would would have wished to develop further in relation to surrealism. 301 00:37:36,240 --> 00:37:40,240 These landscapes imagined, as you might imagine, just future. 302 00:37:40,240 --> 00:37:50,970 Placed on manmade wastes. And I think that J.P. Ballard has extraordinarily close ties to sir. 303 00:37:50,970 --> 00:37:55,800 It is not just to US landscapes, but to the ideas here, 304 00:37:55,800 --> 00:38:06,270 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. 305 00:38:06,270 --> 00:38:12,000 This there's a still from the film which was apparently shot in the desert. 306 00:38:12,000 --> 00:38:26,220 And that particular focus is on wrecks and abandoned objects like the watercolours that that Dean also uses by some on the left. 307 00:38:26,220 --> 00:38:33,040 He called this the film's called Phantom McGarr. Apparently, in the course of filming it, 308 00:38:33,040 --> 00:38:41,730 they they filmed the coach load of people who to them and the whole thing is filmed when they came to protect the film. 309 00:38:41,730 --> 00:38:44,930 It wasn't there because the whole thing had been a mirage. 310 00:38:44,930 --> 00:38:53,490 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. 311 00:38:53,490 --> 00:39:01,650 Who who does it work? And is is the name of a particular kind of mirage of optical effect. 312 00:39:01,650 --> 00:39:06,570 A quotation from the film In Paradise Brings Me Happiness that you find. 313 00:39:06,570 --> 00:39:10,390 Gates Without Borders leads to natural steps in the field. 314 00:39:10,390 --> 00:39:15,090 Yes. Watch the photographs by Nash and by Alan Hagar. 315 00:39:15,090 --> 00:39:24,920 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. 316 00:39:24,920 --> 00:39:30,340 They belong to them. Precious, quite small history of surrealism in England, 317 00:39:30,340 --> 00:39:39,720 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. 318 00:39:39,720 --> 00:39:52,220 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. 319 00:39:52,220 --> 00:40:00,980 And his his montage of some of the things they found on the beach called Swanage. 320 00:40:00,980 --> 00:40:07,070 The far right hand sort of seems to think that this is looking out of the picture. 321 00:40:07,070 --> 00:40:13,640 In fact, was an object found by a girl that love curve, an old anchor chain covered in barnacles, 322 00:40:13,640 --> 00:40:18,620 shells and pebbles, aigo stones photograph to prove nothing. 323 00:40:18,620 --> 00:40:25,270 Britany so tightly frame put that on almost like Kissel's giving the rocks the character of amongst months ahead. 324 00:40:25,270 --> 00:40:31,200 But as Dean says, they are their own meaning and context and mutation form. 325 00:40:31,200 --> 00:40:34,700 And whereas the standard stands as a degree of Stonehenge or on duty, 326 00:40:34,700 --> 00:40:47,480 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. 327 00:40:47,480 --> 00:40:53,120 Now she so believe the unconscious could manifest itself in puns and matched objects 328 00:40:53,120 --> 00:40:59,020 found in the landscape in paintings like it bent on the Doffs 1934 painting. 329 00:40:59,020 --> 00:41:02,610 But what are the trees down? Tennis ball. Why do it again? 330 00:41:02,610 --> 00:41:10,430 Yes, fact. They born of a chance encounter. Why is the energy of these two objects so compelling as a lights? 331 00:41:10,430 --> 00:41:14,600 As they sit side by side in the foreground of the landscape, it feels drained of its colour. 332 00:41:14,600 --> 00:41:20,520 Under the grey monochrome sky. And what about the food and the folk track? 333 00:41:20,520 --> 00:41:24,740 It's precisely because the riddle is insoluble that we have held. 334 00:41:24,740 --> 00:41:32,080 By estimates, these amongst the rich connexions acidity follows an imaginary meander through 20th century art. 335 00:41:32,080 --> 00:41:41,510 Remind us that story is wonderings, but not exclusively for the city. 336 00:41:41,510 --> 00:41:47,190 The second part is maths, and I'm going to I'm going to try to condense this a little bit. 337 00:41:47,190 --> 00:41:56,220 I wanted to compare and interesting to compare Paris hasn't ever gone with the situation is bereave, as it is called, 338 00:41:56,220 --> 00:42:03,640 developed by the to go Paris because was improved protest that the destruction of an old Paris of Arcade's. 339 00:42:03,640 --> 00:42:08,610 And that's a resistance to the new order imposed by the Grand Apennines. 340 00:42:08,610 --> 00:42:17,430 The situation is heavy. It was theorised at length, considerable length by Dyball as part of an analysis of urbanisation, 341 00:42:17,430 --> 00:42:23,970 which the situation is understood as a form of control. By increasing the means of maintaining order in the street. 342 00:42:23,970 --> 00:42:34,470 In the end, the street itself is suppressed. The disease is a form of resistance to the one way world of modern urban living. 343 00:42:34,470 --> 00:42:38,760 Drifting through the streets and the debate, trying to lose oneself in the city. 344 00:42:38,760 --> 00:42:44,310 It was, and I quote, a mode of experimental behaviour linked to the conditions of urban society. 345 00:42:44,310 --> 00:42:54,930 A technique of finding passage through various embassies such as Meatball's Naked City deliberately countered the one way world of the modern city. 346 00:42:54,930 --> 00:43:01,600 See the arrows pointing to in two directions. 347 00:43:01,600 --> 00:43:08,740 Introducing the notion of psychogeography, the study of the specific effects of the geographical environment, consciously organised or not, 348 00:43:08,740 --> 00:43:15,910 on the emotions and behaviours of individuals, obviously based on the surface excursions and appeals to chance. 349 00:43:15,910 --> 00:43:17,770 The situation is actually rejected. 350 00:43:17,770 --> 00:43:26,590 Surrealism, ostensibly, if it's continuing belief in the unconscious and automatism, accusing it of tending to the occult. 351 00:43:26,590 --> 00:43:37,840 Now, I go to compare that very quickly with a mapping project by the Argentinian artists, Hockey Mackie. 352 00:43:37,840 --> 00:43:49,250 This is 2004 in his three Winners' Arrows, and he produced a box work called Buenos Aires Tour. 353 00:43:49,250 --> 00:43:52,120 Mackey began by fracturing a pane of glass, 354 00:43:52,120 --> 00:44:01,010 which you can see on the left and smashing it and then superimposed this smashed glass on a map of when assize. 355 00:44:01,010 --> 00:44:07,120 The fracture lines created eight itineraries. The 46 stops. 356 00:44:07,120 --> 00:44:11,740 The hole is marked and coloured to resemble a London underground map. 357 00:44:11,740 --> 00:44:20,200 Mecca had recently returned from a residency in London and with the mapping project he planned to reorient himself in his hometown. 358 00:44:20,200 --> 00:44:29,330 He, a composer and a poet, followed the Mopti to his collecting objects, knitting countless associations and stories of the city and recording songs. 359 00:44:29,330 --> 00:44:37,060 The seedy roaming the box takes one on journeys that seem to follow the itinerary, but each pic puts one on a different path. 360 00:44:37,060 --> 00:44:41,680 It is thoroughly disorienting and set in the very opposite of a map of the city. 361 00:44:41,680 --> 00:44:51,490 It's a labyrinth without a thread. It demonstrates the way that what one what one thinks one recognises is rendered strange, provisional fitting. 362 00:44:51,490 --> 00:44:58,190 Each journey will be different for the tourist who accepts the invitation to follow this chance based itinerary. 363 00:44:58,190 --> 00:45:04,510 Evelyn Jager recalls Focus's book, as is the Garden of Forking Paths, 364 00:45:04,510 --> 00:45:11,410 in which the labyrinth turns out to be not a physical place, but rather a novel in which alternatives are chosen simultaneously. 365 00:45:11,410 --> 00:45:17,890 Thus creating branches, amplifications, chance choices in a multitude of possibilities. 366 00:45:17,890 --> 00:45:26,080 The chance gestures inaugurated Buenos Aires tour with this alternative map is, I think, little different from the surrealist Furneaux wonderings. 367 00:45:26,080 --> 00:45:32,920 The conditions for the chance encounters are actually set up in advance in the studio charts. 368 00:45:32,920 --> 00:45:41,340 Here is closer to Marcel Julian's idea of canned or tind chance experiments with chance. 369 00:45:41,340 --> 00:45:49,470 And I it was a curious resemblance, in fact, to Mackey's map is a do shows network of stoppages. 370 00:45:49,470 --> 00:46:02,270 Each of these three, as it were, itineraries is three lines is based on the the three sets of string. 371 00:46:02,270 --> 00:46:06,970 This is from his his work call three standard stoppages. 372 00:46:06,970 --> 00:46:14,750 And is very important aspect of all of the operations of chance and the idea about chance and the workings of chance, 373 00:46:14,750 --> 00:46:22,580 the way his office might use chance for the 20th century. He would also link it to Mitt effectually. 374 00:46:22,580 --> 00:46:28,100 In this case, Duchamp took three metres of string and dropped each. 375 00:46:28,100 --> 00:46:36,110 From the height of a metre and stuck them down where they fell, thereby creating a new unit of measurement. 376 00:46:36,110 --> 00:46:49,820 But also, I think his idea was to just slightly disturb this, orient the notion, this ideal, the myth of the perfect metre. 377 00:46:49,820 --> 00:47:01,310 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. 378 00:47:01,310 --> 00:47:05,770 So the fact that that is a curious kind of myth that the. 379 00:47:05,770 --> 00:47:15,860 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. 380 00:47:15,860 --> 00:47:21,170 I'm going to run past this because I'm sorry I'm running out of time a little bit. 381 00:47:21,170 --> 00:47:26,810 But I wanted to just make a reference to Francis and. 382 00:47:26,810 --> 00:47:34,380 Again, I think his his work, in a sense, I would see as I think potentially punctuating the whole of this talk. 383 00:47:34,380 --> 00:47:40,100 And had I been more adept at trying to make things work, 384 00:47:40,100 --> 00:47:48,290 I would have tried to show you fragments of the video of to which this little drawing and map relates. 385 00:47:48,290 --> 00:47:57,710 And that is the Gods video, which was done on the archangels guidance in 2003. 386 00:47:57,710 --> 00:48:02,840 I didn't believe you have seen this video, but it shows I didn't how he organised it. 387 00:48:02,840 --> 00:48:10,560 An empty city, an empty London and a single God walking through the streets. 388 00:48:10,560 --> 00:48:21,270 Gradually, he's joined by other gods. And it's an extraordinarily evocative film of what appeared to be kind of chance meetings 389 00:48:21,270 --> 00:48:26,960 that mapped on very carefully mapped onto this this some this map of London one. 390 00:48:26,960 --> 00:48:35,210 What an interesting example of, as it were, planned and organised. Well, not Francis Ellis himself actually go out and country things. 391 00:48:35,210 --> 00:48:47,820 It's a very, very interesting and very important piece. This is this is a little crack in poverty there. 392 00:48:47,820 --> 00:48:59,030 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. 393 00:48:59,030 --> 00:49:10,760 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? 394 00:49:10,760 --> 00:49:15,200 And that is the Brazilian artist, Silvo Mary-Alice, who I mean, 395 00:49:15,200 --> 00:49:23,930 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. 396 00:49:23,930 --> 00:49:27,500 However, I think that his work. So each one is original. 397 00:49:27,500 --> 00:49:35,540 Unlike its predecessors, I think they renew and change ideas and practises that grew originally under the umbrella of surrealism. 398 00:49:35,540 --> 00:49:42,020 New configurations of the unconscious chance encounters disorientation through the use of scale or juxtaposition, 399 00:49:42,020 --> 00:49:49,400 subversive spaces, obsessional collections of disparate things GAMES' humour, the rethinking of the readymade, 400 00:49:49,400 --> 00:49:54,620 which even links it to Margreet Mireles described his work as taking a new direction from the 401 00:49:54,620 --> 00:50:01,730 concept he likes very much Confucians readymades and he makes a wonderful leap to the Margarete. 402 00:50:01,730 --> 00:50:03,920 This is not a pipe. 403 00:50:03,920 --> 00:50:11,930 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. 404 00:50:11,930 --> 00:50:19,300 If the artist says that redshift is in three parts, 405 00:50:19,300 --> 00:50:25,400 it physically constructs an imaginary place where someone, because of preference or mania, accumulates. 406 00:50:25,400 --> 00:50:30,260 The greatest possible number of objects in different shades of red preference 407 00:50:30,260 --> 00:50:34,770 mania actually indicate two different modes of relating to the world around us. 408 00:50:34,770 --> 00:50:39,200 Preferences here are a mild term for collecting, which is often compulsive. 409 00:50:39,200 --> 00:50:42,570 But mania could also indicate a different kind of compulsion. 410 00:50:42,570 --> 00:50:57,360 The paranoiacs delusional interpretation of the world according to a single, rational but consistent idea. 411 00:50:57,360 --> 00:51:06,170 For his my nude sculpture, Southern Cross Paratus coined the term baroque humility, minimalism. 412 00:51:06,170 --> 00:51:15,930 It is, he says, exactly the opposite of American minimalism, which is devoid of any symbolic or discursive intentionality. 413 00:51:15,930 --> 00:51:20,140 The minimalist and conceptualised artists of the 1960s in the US and the UK. 414 00:51:20,140 --> 00:51:27,060 Anything sociological, psychological, personal was art. An object was what it was, nothing else. 415 00:51:27,060 --> 00:51:31,830 Southern Cross, by contrast, is loaded with stories, mythologies, symbols. 416 00:51:31,830 --> 00:51:37,080 It's a nine millimetre squared cube of two wooden sections, oak and pine. 417 00:51:37,080 --> 00:51:46,430 These words are sacred and trippy cosmology to divinity tupa, whose presence is evoked in the far created by rubbing them together. 418 00:51:46,430 --> 00:51:53,760 It is draws attention to the patronising simplification by Jesuit machines with very complex cosmology in cosmology, 419 00:51:53,760 --> 00:51:57,400 the helplessness of the almost invisible tiny cube. 420 00:51:57,400 --> 00:52:06,060 It stands for the precariousness of the Indian presence in Latin American space and for the persistence of myth. 421 00:52:06,060 --> 00:52:22,110 And I am very quickly going to end with reference to the surrealists attitude to myth this. 422 00:52:22,110 --> 00:52:26,490 I will turn to. Very fast. This this. 423 00:52:26,490 --> 00:52:33,740 The catalogue for this exhibition, which is the 1942 first papers, are served as an exhibition in New York, 424 00:52:33,740 --> 00:52:43,050 included an album arranged by Britain called on the survival of Certain Myths and on some other myths in growth or formation. 425 00:52:43,050 --> 00:52:52,140 Amongst these were both Wansley grown close to home, Rambow Triumphant Science, The Andrew Gyun, The Killing of the King, 426 00:52:52,140 --> 00:53:05,380 Interplanetary Communication, Artificial Man, Icarus sorry, Icarus, Orpheus and the Golden Age Installation. 427 00:53:05,380 --> 00:53:09,780 The exhibition by Duchamp consisted of gaping nets of string while the like interwove and 428 00:53:09,780 --> 00:53:15,360 rigging the difficulty of coming close to examine the works in detail in possibility, 429 00:53:15,360 --> 00:53:21,330 discerning from any angle an unbroken plastic pole prefigures in striking fashion. 430 00:53:21,330 --> 00:53:26,580 The disquiet we feel today here, but was writing in the catalogue. 431 00:53:26,580 --> 00:53:35,130 The 1947 International Surrealist Exhibition in Paris. The sense of the inadequacy of any single work of art to express that disquiet. 432 00:53:35,130 --> 00:53:38,370 The need to ask more to continue through disorientation, 433 00:53:38,370 --> 00:53:43,570 to challenge the narrow concept to the real was felt as acute in the post-war years as it has. 434 00:53:43,570 --> 00:53:51,510 As it had been in the early twenties, Gio's baptise text, The Absence of Myth was also published in its catalogue. 435 00:53:51,510 --> 00:53:57,450 The exhibition itself was dedicated to ritual, the esoteric ideas of initiation. 436 00:53:57,450 --> 00:54:04,200 The sweetness had anticipated Joosh Bettye in recognising the absence of myth in the modern world. 437 00:54:04,200 --> 00:54:11,040 But rather than accepting his exalted, rationalist argument that the absence of myth was the only truth, 438 00:54:11,040 --> 00:54:19,190 they persisted in the belief that a mythology of modern could be even perhaps was in the process of formation. 439 00:54:19,190 --> 00:54:26,820 I were gonna call the first part of Paris peasant preface to a modern mythology the disquieting atmosphere, places where the living pursuit, 440 00:54:26,820 --> 00:54:35,200 particularly ambiguous activities, dwells in the inanimate forms which any dreams will stop to interrogate. 441 00:54:35,200 --> 00:54:41,790 The wealth myth had been devalued by the 1940's and referred to something that was as we Frade used the word still today. 442 00:54:41,790 --> 00:54:51,400 Something is by definition false, both by time and this realist's. 443 00:54:51,400 --> 00:54:56,500 So we're convinced that this is profoundly misguided. 444 00:54:56,500 --> 00:55:01,450 Without committing themselves to more than an open mind about what they might be. But en route, 445 00:55:01,450 --> 00:55:10,270 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. 446 00:55:10,270 --> 00:55:15,130 Everything occurs today as there's suffered relatively recent poetic and plastic works, 447 00:55:15,130 --> 00:55:26,810 exercised a part of the people's minds incomparably stronger than that of the work of art. 448 00:55:26,810 --> 00:55:36,120 The final paradox ending with this quickly is that it is the experience beyond got initiated by Dutton Serialism Insulation's situation. 449 00:55:36,120 --> 00:55:44,690 He's walking debris, collecting happenings, found objects, used charms that artists have continually returned to. 450 00:55:44,690 --> 00:55:49,000 Does this equate to a final specialisation? What began as an art or an art? 451 00:55:49,000 --> 00:55:52,550 Was Duchamp prefer to call it? I actually don't think so. 452 00:55:52,550 --> 00:55:58,520 I think that space is still held in in many cases, 453 00:55:58,520 --> 00:56:09,810 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. 454 00:56:09,810 --> 00:56:12,621 Thank you.