6 books 12 quotes

Books:

1) Anthony Hoete, Reader on the Aesthetics of Mobility, Black Dog publishing, London, New York, 2003
I found this from Petrenko, one particularly influential work in the book is the spatio-temporal map of Western Europe derived from the speed of trains. Time is essential element in experiencing space, as noted many times in Eliasson's writings. It's interesting how so natural to my own experience is validated only after reading it from someone else... In any case I haven't really experienced space much in my recent past.

2) Matthew Coolidge and Sarah Simons, Overlook: Exploring the Internal Fringes of America with the Center for Land Use Interpretation, Metropolis Books, 2006
From several sources. Interpretation (mediation) as undertaking, connected ideas of Kaprow and Debord in contemporary American context.

3) Steven Henry Madoff, Art School: Propositions for the 21st Century, The MIT Press, Cambridge, London, 2009

4) Sabine Hornig, The Second Room, Hatje Cantz, 2006
Her wok plays with the normal and perception of space. NORMAL is my one next assignment topic.

5) Nedko Solakov, Emotions, Hatje Cantz, 2008
A Bulgarian artist, his work is not certainly about space although 2 of his pieces are very on topic. Annotations on the walls of empty gallery making the viewer aware of small details and imperfections, creating a narrative of supposed emptiness. The next one, Not So White Cube, performance in which two workers paint the walls one after the other in black and white respectively. The two "colors" circle around the space until the end of the show.

6) Martina Weinhart and Max Hollein, OP ART, Schirn Kunsthalle Frankfurt, Verlag Der Buchhandlung Walther Konig, 2007
This is more about the mechanics of perception. Contemporary art inspired from Op Art also deals with personal projections on the perceived and cultural context.

Quotes:

1) "My work is always about a generalization of forms that exist in many locations and already have an inherent placelessness... While there is something specific about each object, the process of reconstructing it produces a level of abstraction, an indistinctness which calls upon viewers to face the object as a counterpart and to think about where they know it from. "
Sabine Hornig, The Second Room, Hatje Cantz, 2006 p.40

2) "The flaneur was the hero of the modern city, enjoying the freedom to stroll in the boulevards and arcades, visit cafes and department store, get lost in the crowd but, importantly, to observe and be observed."
Briginshaw, "Keep your Great City Paris": the Lament of the Empress and Other Women, in Dance in the City, ed. Helen Thomas, Basingstoke Macmillan 1997, p.41

3) "Around 1840 it was briefly fashionable to take turtles for a walk in the arcades. The flaneurs liked to have the turtles set the pace for them. If they had their way, progress would have been obliged to accommodate itself to this pace."
Benjamin, trans H. Zohn, "Carles Baudelaire: a Lyric Poet in the Era of High Capitalism" New Left Books, London 1973, p. 54

4) "Although Situationism was definitely interested in performance it rejected all forms of organized theater and especially dismissive of Alan Kaprow's practice of happening, which it regarded as depoliticised, exclusive and bourgeois. "
Nicholas Whybrow, "Performance and the Contemporary City. An Interdisciplinary Reader", Palgrave Macmillan, 2010. p. 88

5) "The Situationist International, officially operational in Paris between 1957 and 172, comprehensively developed the notion of drift (derive) as a form of reconception and remapping of the city based on a performative practice of walking without aim, as well as inducing impromptu diversions (detournement): that is triggering responses or situations in public places that momentarily introduced ruptures into the urban everyday (or aspects of the so called society of the spectacle)."
Nicholas Whybrow, "Performance and the Contemporary City. An Interdisciplinary Reader", Palgrave Macmillan, 2010. p. 88

6) "Where flaneur favors a form of ironic detachment from the society of spectacle Situationist practices are characterized by an active hostility to the representation of urban experience. Instead they are political acts which aim to reinstate lived experience as true map of the city."
Nicholas Whybrow, "Performance and the Contemporary City. An Interdisciplinary Reader", Palgrave Macmillan, 2010. p. 89

7) "Each individual has a different map of the city. But humans need to mark their lives against real and other people. When they cease to walk, the real spaces become less plausible then than the centralized reality of the media and are increasingly witnessed as a passing blur from a car window. They become abandoned, the the haunts of the disturbed. "
Graeme Miller, The Guardian, 15 June 1993, p. 28

8) "If controlling cultural consumption, situating the subject as spectator, is the essence of political domination, then activating cultural production on a mass scale, producing a society of performers is, Debord believes, the key to cultural and political change. For how can the spectacle function if the masses prefer to remake the world actively rather than to watch it passively on the screen or monitor in front of them?"
Lavery, "The Pepys of London E11: Graeme, Miller and the Politics of Linked" in "Performance and the Contemporary City. An Interdisciplinary Reader" ed. Nicholas Whybrow, Palgrave Macmillan, 2010. p. 164

9) "Space lays down the law because it implies a certain order - and hence also a certain disorder... Space commands bodies, prescribing or proscribing gestures, routes and distances to be covered... The reading of space is thus merely a secondary and practically irrelevant upshot, a rather superfluous reward to the individual for blind, spontaneous and lived obedience."
Lefebvre, "The Production of Space", Oxford: Blackwell 1991, p. 143

10) By asking the participants to perform an apparently mundane task ... Cardiff is encouraging them to perform the everyday. This sense of displacement which comes from consciously performing the everyday has been suggested by Allan Kaprow to encourage a heightened awareness of environment.
Gorman, "Wandering and Wondering: Following Janet Cardiff's Missing Voice" in "Performance and the Contemporary City. An Interdisciplinary Reader", ed. Nicholas Whybrow, Palgrave Macmillan, 2010. p. 175

11) Participants could feel momentarily separated from themselves.
(Kaprow), Rawlinson, Mugger Music, Internalia: Journal of the European League of Institutes of the Arts issue 2 (autumn): 24-31

12) "We obviously want spaces that work as biology. We want a space to live, to live not as a monster that overtakes the person, but as something that reacts. Action is great, but transaction is better. Action is ultimately private: transaction lets other things as well. We would love to make spaces that would actually react to people, as people react to those spaces."
Acconci, Basta and Ricciardi. "Vito Acconci: Diary of a Body 1969-1973" Charta, Milano, 2006, p. 88