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In this in-depth analysis, Peter Muir argues that Gordon
Matta-Clark's Conical Intersect (1975) is emblematic of Henri
Lefebvre's understanding of art's function in relation to urban
space. By engaging with Lefebvre's theory in conjunction with the
perspectives of other writers, such as Michel de Certeau, Jacques
Derrida, and George Bataille, the book elicits a story that
presents the artwork's significance, origins and legacies. Conical
Intersect is a multi-media artwork, which involves the
intersections of architecture, sculpture, film, and photography, as
well as being a three-dimensional model that reflects aspects of
urban, art, and architectural theory, along with a number of
cultural and historiographic discourses which are still present and
active. This book navigates these many complex narratives by using
the central 'hole' of Conical Intersect as its focal point: this
apparently vacuous circle around which the events, documents, and
other historical or theoretical references surrounding
Matta-Clark's project, are perpetually in circulation. Thus,
Conical Intersect is imagined as an insatiable absence around which
discourses continually form, dissipate and resolve. Muir argues
that Conical Intersect is much more than an 'artistic hole.' Due to
its location at Plateau Beaubourg in Paris, it is simultaneously an
object of art and an instrument of social critique.
Shimon Attie's Writing on the Wall: History, Memory, Aesthetics
theorises images from Attie's 'The Writing on the Wall 1991-1993'
installation as a memorial activity, and as an index or habitation
for history. The images, which appeared in Berlin's Scheunenviertel
district, are suspended by the palimpsestic associations
established between the fixated dead of the past and their ghostly
appearance in the present. Part of that palimpsest is a collective
cultural knowledge of the impending obliteration of community (both
the Jewish and non-Jewish citizens of Berlin) by mass-produced
death. Peter Muir analyses Attie's work by responding to a series
of propositions arising from Walter Benjamin's Thesis 'On the
Concept of History.' Shimon Attie's Writing on the Wall: History,
Memory, Aesthetics's presiding metaphor is that of loss - the
central problem that the book addresses is that of forgetting.
Shimon Attie's Writing on the Wall: History, Memory, Aesthetics
theorises images from Attie's 'The Writing on the Wall 1991-1993'
installation as a memorial activity, and as an index or habitation
for history. The images, which appeared in Berlin's Scheunenviertel
district, are suspended by the palimpsestic associations
established between the fixated dead of the past and their ghostly
appearance in the present. Part of that palimpsest is a collective
cultural knowledge of the impending obliteration of community (both
the Jewish and non-Jewish citizens of Berlin) by mass-produced
death. Peter Muir analyses Attie's work by responding to a series
of propositions arising from Walter Benjamin's Thesis 'On the
Concept of History.' Shimon Attie's Writing on the Wall: History,
Memory, Aesthetics's presiding metaphor is that of loss - the
central problem that the book addresses is that of forgetting.
In this in-depth analysis, Peter Muir argues that Gordon
Matta-Clark's Conical Intersect (1975) is emblematic of Henri
Lefebvre's understanding of art's function in relation to urban
space. By engaging with Lefebvre's theory in conjunction with the
perspectives of other writers, such as Michel de Certeau, Jacques
Derrida, and George Bataille, the book elicits a story that
presents the artwork's significance, origins and legacies. Conical
Intersect is a multi-media artwork, which involves the
intersections of architecture, sculpture, film, and photography, as
well as being a three-dimensional model that reflects aspects of
urban, art, and architectural theory, along with a number of
cultural and historiographic discourses which are still present and
active. This book navigates these many complex narratives by using
the central 'hole' of Conical Intersect as its focal point: this
apparently vacuous circle around which the events, documents, and
other historical or theoretical references surrounding
Matta-Clark's project, are perpetually in circulation. Thus,
Conical Intersect is imagined as an insatiable absence around which
discourses continually form, dissipate and resolve. Muir argues
that Conical Intersect is much more than an 'artistic hole.' Due to
its location at Plateau Beaubourg in Paris, it is simultaneously an
object of art and an instrument of social critique.
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