Stromverteilen: Engagement plan for SYP

This work is both process-based and site-specific. It shifted in site twice (unexpectedly); the methodology of drawing/contact adjusted and became more refined in this process, and also proved to be mobile, it itself was moving-with (not just the objects under investigation).At this point of concluding both BoW and Research, I am looking forward to forms and processes of engagement that make sense, and that are accessible.As engagement plan at this moment I put the following forward:

  • site-specificity and on-site installation/process
  • digital platform and portfolio
  • edition of DIY assemblage for distribution
  • publication (academic, artistic)

Site-specificity: the absent site of the staircase.Discussions around site, ambition and immersivenessI install on Sunday 15 May on site: less to document but it works really as event, as performance even. I and my friend document, yet the experiential relationship across the site, the different sightlines, connections, elevations and folds of each work are difficult to capture. I choose not to attempt to do this as part of the day but instead focus on the experiential for us, five in total, to test out and explore what it is the intervention into this space, place and what the objects open up here.
I think I want to reinstall as event as part of SYP at some point late summer, early autumn. For whom and with what programme needs to be considered. The site has a fair bit of village dog-walking traffic, there are of course people locally interested in what Gesa has been doing, or who would be interested in a site-specific installation or event. Would I be interested in considering these as my audience (I am less sure).
Digital platform/portfolioFor Im Walde 14-23 I have a digital resolution; similarly, the audio file for Walnut tree of touch (a potential blanket) [also: Walnut tree] lives effortlessly in digital. The two transformer covers create digital objects but are experiential, to step close, to step away, to look down, to look up. So a digital portfolio documents (and potentially anchors these as sublime, but their experience is much lighter in person).maraprilay as walking loop and an audio walk for this with this new site? How could this work on site/ away from site?
The actual installation of the whole work of Walnut tree is site specific and in situ: it effortlessly creates a wide range of aesthetic photographs, some as documents, some as art objects themselves, yet to experience the scale and crucially the relationship to the other objects and the wider site, these do not transfer. I recorded a video of walking up towards the sewing machine, which on a sandy soil spring meadow is quite spectacular, so as to relate some of the near experience of it.
Edition of DIY assemblage to post out

  • a kaleidoscope kit
  • a drawing machine assemblage
  • a fir cone
  • some larch essential oil
  • an instruction to touch

>> as a simple kit, in a small edition (8-15) to post out to re-assemblage their version of the research tools for this enquiry
Publication: writing (academic and artistic)> journal>book or zine form?The Research dissertation employed PaR to conduct as substantive piece of research which in itself creates a number of significant and original insights. These could (and possibly should) be put towards a public in the form of academic (either within geography or arts) writing, as journal article and/or a different public site. Also, there is scope to work the material into a publication that is closer to an artist book (or site), to exist as artistic/public object outwith academic sites of valorisation.
<< there are a wide range of objects and enquiries that are part of Stromverteilen, both in BoW and Research; the process of writing is key to it too. At the point of deciding that For Covers will be the actual BoW submission I was in the process of creating a final ‘drawing’ for BoW to hold the different strands together, so there are a series of active processes still live. I then realise that these objects are research objects, they continue to inquire into drawing/contact. So they can fold onwards and continue. After submission I am interested in seeing some of these out and the insights (and objects) they create. For Covers is conventional in its objecthood while the research objects are much less so as Practice as Research. For SYP and the engagement with this work, I want attend to both the objecthood of For Covers as well as the PaR of the work.


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