Property of Space

By Gaba, Marc, Escalona

Book Id: WPLBN0004450878
Format Type: PDF eBook:
File Size: 5.98 MB
Reproduction Date: 6/18/2016

Title:	Property of Space
Author:	Gaba, Marc, Escalona
Volume:
Language:	English
Subject:	Non Fiction, Fine Arts
Collections:	Authors Community, Art
Historic Publication Date:	2016
Publisher:	Philippine Proposition Inc. and Artery Art Space

Member Page:	Artery Art Space
Citation APA MLA Chicago Escalona Gaba, B. M. (2016). Property of Space. Retrieved from http://www.gutenberg.us/

Description
Property of Space by Marc Gaba (Exhibition Catalogue)

Summary
THE IMAGE AS A KNOWLEDGE OF SPACE Essay by Raymond de Borja This is a book of images, of the image as space, of the image as a production of space, partes extra partes, of the distance between image and text. An image is not an object. Objects contain matter; an image contains. It is a book about what an image can contain, about what a text can contain, how a work can conflate image and text, then how in such conflation relations are severed. I propose that it says the image has a knowledge of space. The image is an agent of epistemology. What knowledge does it contain? As an agent, it acquires and creates. It knows of the nature and availability of space. It creates them. The book starts with a premise. Premise (Duchamp). Then Premise (Question of Trespass). Remember that a premise is a proposition. And that the premise is a place. Space is delimited in the declaration of place. It is a double operation: an image produces knowledge of the evening, the silhouette of a water tank, two burlap garbage bags, a toilet, a no-parking sign; then the no-parking sign carves out a separate space within the space. A proper space. Inappropriable. Then Premise (Guest). Now we have three premises, enough to form an argumentative structure. We understand that these are not pictures of a landscape. “The landscape,” Jean-Luc Nancy writes, “is the contrary of a ground.” “In it must be entirely surface,” and surface alone “throughout.” Instead we have something like receding picture frames – the ground of evening, the figure of a place (the silhouette of water tank, a makeshift eatery, corrugated roof for a wall), and the becoming of a figure, the fuzzy delimitations of no-parking spaces. So the space in the image is no longer representational space. No longer just figure and ground. But a virtual space, where we see the taking place of space.

Table of Contents
CONTENTS “THE IMAGE AS A KNOWLEDGE OF SPACE” Essay by RAYMOND DE BORJA PREMISE Premise (Duchamp) Premise (Question of Trespass) Premise (Guest) SIGN Sign (Alphabet the Accordion) Sign (Sculpture) Sign (Game) Sign (Tie) Sign (Orientalizing) Sign (Leap) Sign (Meadow) MIDDLE DISTANCE Middle Distance (Neighbor) Middle Distance (The Emotional Life of Ghosts) Middle Distance (24/7) Middle Distance (Ace of Hearts, Heart of Cages) Middle Distance (Construction) Middle Distance (Flag of Grey) Middle Distance (The Activist) Middle Distance (Garden) Middle Distance (Ellipses) Middle Distance (Linger) INDIVISIBLE Indivisible (Noir) Indivisible (Sugar) Indivisible (Meridians) Indivisible (1980’s Social Realism) Indivisible (Gangsta) Indivisible (Firm) Indivisible (Diplomacy) Indivisible (Memory) Indivisible (First Love) SPACE Space (Prayer) Space (Altruism) Space (Visible Life) Space (Only If) Space (Language) Space (Property Of) Appendix: The Exhibit Ellipses Visible Life Gate The Spratly Membrane Page from Where We Stand Door Ajar that Oceans Are Apologia for Mondrian Territorialism Space (Property of) Love (They, Utrillo, Alteration Make) No Parking