Contemporary art is a feast for the senses. But have we reduced art to vision? And what does the hand do, now that we have machines and automated ways of making, editing and showing images? And what are images?
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This episode is the second audio/video essay of the season. It will take you on a trip to a sensory shift across times, blurring the boundaries between line, image, wall, surface, paper, and machines. Where the hand is, what it does and how it is re-articulated by automation is promising and exciting if we let it.
If you enjoyed this episode, and if you enjoy reading, Joana's Substack might be for you.
I was invited to participate in a conversation on the occasion of the launch of Trajectories, Variations on a Gesture a book which is almost a sculpture or an exhibition in itself, containing 10 drawings made at Massana school of crafts (Barcelona) by Edouard Cabay. The director of the school, Xavi Capmany invited Cabay, an experimental architect and artist to bring his algorithmic practice at the heart of a school teaching manual crafts in order to create a dialogue between the different uses of the hand, of patterns, of the eye, the brain, muscle and memory. I dediced to start by reading a short text, which you can enjoy, in a longuer version, here.
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About us: If you enjoy the podcast If Books Could Kill and You Are Good, you will enjoy Exhibitionistas, where artists are unveiled through current and pertinent angles, and through thoughts and feelings. These podcasts were a great inspiration for our format because they're nerdy and engaging, researched and approachable. The co-host and the guest co-host engage in a conversation informed by an accessible and lively presentation of the subject, through which you can reflect on a show you've seen or discover it if you can't go, learn or re-evaluate artistic topics crossing over into our everyday lives.
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I'm Joanna Pierre Nevis, your host, and this is exhibitionist
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this. I'm an independent writer and
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curator with a wide-ranging 2 decades career in contemporary
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art, from commercial galleries to art fairs, from research to
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curating, from Lisbon to London through Paris.
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But when I'm asked what I do outside the out world, the
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inevitable reaction is, oh, I don't know anything about
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contemporary art. Ouch.
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So call it a midlife crisis, call it arrogance, but I gave
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myself the task of trying to fill that gap with Co host
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conversation episodes centered around a genuine exchange of
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thoughts, feelings and precious context around solo exhibitions,
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interviews and special episodes based on a particular topic to
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keep you alert and on your toes. If you want to read further into
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some of the topics discussed in the episodes and more, you can
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also find me on Sub Stack under my name, Joanna Pierre Nevis.
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This is one of those shorter episodes based on a topic often
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prompted by a lecture or a conference.
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This is no exception. I was invited to participate in
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a conversation on the occasion of a book launch, which is the
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outcome of a really interesting project, so the story behind it
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is really fascinating. Picture Barcelona.
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Picture a school of traditional crafts such as ceramic weaving,
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sculpting. The school is called Masana and
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its director Chabi Kapmani decided to invite experimental
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architect and artists also based in Barcelona, Edwah Kabi, to
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bring his work based on automation algorithms coding to
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the school as a residency project.
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So of course, the purpose was to combine or articulate handcraft
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technologies with new digital learning technologies.
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The culprit here is going to be the hand, of course.
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So you'll imagine the students working with their haptic
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abilities and the artists pressing buttons and looking at
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screens. On the other hand, I have
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investigated for many years an inventor of the 19th century
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called Etienne Jean Marais, who was French, who basically
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perfected and established the use of graphic recording
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machines. And I argue that this is the big
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shift. And what shift is this?
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So think seismograph. Think electrocardiograph, but
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think mostly the first invention of Mare, which was this
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figmograph. It was a small device that you
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applied to the wrist with a sensor which activated the
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stylus, and he showed this in Napoleon's court.
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So at the time there were these massive events around these
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innovations. Of course photography comes to
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mind, but here it was basically something used by doctors.
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All doctors bought this device after this.
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So this small device was applied to the wrists and then the
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movement of blood was sensed by makeshift kind of sensor, which
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then carried that information to the stylus.
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The stylus would move across a cylinder which was covered by a
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paper darkened with smoke. And so the movement of the
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stylus scraped off parts of that smoke, creating a white line, a
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graph that kind of emerged from that black background with the
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unique pattern of that person's blood pressure.
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The image in Mary's book called Le movement, I think, or the
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graphic method. I think that's in the graphic
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method illustrating this device shows a hand idle and a machine,
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the Sigmograph drawing. So from here on, and that's kind
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of what I argue, there's a reconfiguration of the body.
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So the eye does not provide the visual stimulus to the eye and
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the hand, which together draw quite the opposite.
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So the eye receives the drawing and interprets it.
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So this changes the way we use our bodies in relation to
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drawing and this is kind of what Idwa brought to the table at the
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Masana school. What Idwa did was to bring this
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idea of the machine, the automated process, into the
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school. So he worked with 10 students
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that he isolated HE3D, scanned their hands working on different
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manual disciplines. Then he translated this movement
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with an algorithmic syntax that he developed and he extrapolated
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100 times the curve that he obtained.
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And so the text that I received says quote.
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The series of 10 drawings captures and reveals the
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infinite repetitions and variations of human movements
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contained in the almost automatic action of the
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craftsperson when working with the material, UN quote.
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So notice that he applies the notion of automation to the
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human body. And I did something a bit
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similar, which was to focus on the movement and what happens in
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it for us. I ignored the time span between
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manual production and digital production or consumption or use
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and kind of read them together. And I propose perhaps another
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way of considering connection proximity and creation.
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I'm looking at a screen. I'm holding it.
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I lift my index finger to tap on it.
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An image appears. I drag my index finger across
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the screen. Another image appears, and
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another, and another, and another.
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Compared to the world it replicates, the image is small,
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but it has depth and colour. My eyes roll into it.
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The retina is attached to the core of the nervous system.
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The brain. My brain is in my hand.
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It's vibrating. I drag my index finger across
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the screen and a voice calls my name.
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I greet it as I place the screen against my ear.
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I've moved seamlessly into the corner of my mind where I
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concentrate. Once the exchange is over, the
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screen turns to black. I see the deposits of grease on
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the aluminosilicate glass where my finger and my ear touched it.
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What made the things move and the voice resonate, however, was
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not my skin, with its miniscule deposits of fat and dead cells.
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It was the electricity at the tip of my index finger.
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It disrupted the electrostatic field of the glass layers,
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awakening the images, pulling them up onto the glass.
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This was not haptic. It was contact.
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Heptane in Greek, meant to grasp, to claw, to contain
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something within the clasp of a muscle, the bone, the flesh,
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through the thin layer of skin that holds them together and
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tells them that they're working. The thing is held, Hey, we can
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do something with it, but contact is something else.
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When I was studying in Paris, I went to the College de France to
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listen to Giorgio Agamben's lectures.
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I can't remember any of it except a sentence.
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Contact is the absence of representation.
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I've tried to find its source. I seem to remember that he was
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quoting someone, but I haven't found it yet.
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Contact is the absence of representation, a sentence
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uttered 30 years ago when I was so intent of remembering that I
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forgot everything. A quick search for Illinois
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Contato El Esenza de Representanza provides a stream
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of legal suggestions. The origin of the sentence will
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most likely remain lost. I've carried it for a while.
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Like when you keep a new ingredient in the back of the
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larder because you can't cook with it.
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Once in a while you come across a recipe and you think you may
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have found something to use it in.
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But let me stop right here. Ideas are not spices, even if
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they can be spicy. They have a life of their own,
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and they grow inside you, carrying trains of thoughts to
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the surface of consciousness. This sentence may have been
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responsible for my relentless fascination with the line, and
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with beginnings and with elementary gestures and forms.
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The line is the moment of contact, a stylus moving across
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a surface, a papyrus, a sheet of fine interlaced fibers of
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Mulberry tree, a soft cellulose A4 page.
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That moment is something unique, which many artists try to
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preserve and expand. Emmanuel Behonger runs toward
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the wall at great speed, as if it wasn't there, and he makes it
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disappear for a quick second. As he continues running up the
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wall at 90°, his body rotates and then jumps onto the ground.
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The work called Hobondiere is one of my favourites because it
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becomes apparent only when you've read the label.
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Oh, there's a work on this wall? People asked.
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The work was the stain of his bare feet at almost chest level,
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traces of the accumulated dirt of the floor, fixated by his
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perspiration. It was almost negligible and it
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didn't have the beautiful aura of a footprint.
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This notion of trace was used by a lot of theorists to talk about
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photography. Intellectuals entertain a
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certain romantic disposition towards the trace and analogic
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devices because they still operate with traces, even
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though, like the screen, the outcome is an image replicating
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what we see. Footprints, marks, indentations
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fascinate. They're the outcomes of contact.
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But our strongest, most omnipresent form of trace is the
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photographic image and the logic.
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Of course, although the digital one bears its memory as a trace
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left by light and shadow on celluloid, we are dealing then
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not with presence, but with past presence, which is to say the
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hollowed out presence of an absence, wrote Margaret Iverson.
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What to be romantic or literal? I like literal.
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Contact is the absence of representation because it's the
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absence of distance. You kiss with your eyes closed.
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Contact is what happens before the trace.
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It's togetherness. It's my list of contacts.
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It's infection, contagion. In mathematics, it's the
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touching of a straight line and a curve of two curves or of two
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surfaces. The meeting of two curves or
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surfaces at a point so as to have a common tangent or tangent
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plane at that point. The coincidence of two or more
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consecutive points on each of two curves.
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Contact is a point or several. The point of contact where 2
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lines meet, but also where they separate contacts is
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momentaneous. During the pandemic, Katherine
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Schrebel called the museum staff of the Stuttgart Kunt Museum,
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where she was invited to do an exhibition into one of its
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spaces, a 25 metre long hallway. The director, the curators, the
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security personnel, the assistants, the cleaners and the
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HR people all met her there, one at the time.
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She asked about their daily tasks next to the long pristine
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wall of the space. They talked about sitting at the
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desk, moving paintings, filling up exhale sheets, preparing food
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in the kitchen, mopping the corridors, standing still in the
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museum rooms, or distributing leaflets.
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Meanwhile, she invited them to touch the wall while they were
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speaking. Some did, almost distractingly,
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others would forget about it, and some were very performative
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about it, almost dancing. I can imagine the surprising
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association between touching and speaking, the cold and
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uneventful feel of a modern wall, the sensual liberation of
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an unusual contact, the perfunctory gesture.
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For some, after this unskilled performance, only their loose
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dead cells, the precise chemistry of their humours,
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remained on the walls, invisible to the naked eye.
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Catherine Schreuber then applied forensic powder onto the wall,
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revealing the endless ruminations about everyday
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actions, professional gestures performed without anyone giving
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it a second thought. This was during the pandemic.
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The museum was closed, mouths were covered with masks.
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Contact and therefore contagion was avoided.
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You could touch things, but with a fine layer between a glove, a
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tissue. So in this context, contact was
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present as a menace, but also as a basic unfulfilled need.
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Touching the wall must have felt transgressive and good, as if
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the words were re enacted by the hands and then the feeling of
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freely touching somehow became a hug.
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Warmth as much as it's lack thereof.
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The focus was on the hands, the body, as usual in Struble's
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work. What you do, what you touch,
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what touches you, Not what you grab, take with you and use, but
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what at some point in time and space crosses paths with you,
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alters you, while you keep going your way, moving about in your
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space, in your life. Over this layer of smudge
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desires, Strobel hung her own drawings framed, suggesting that
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their content was perhaps more permeable than expected.
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One of the images is taken from a documentary showing the
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liberation of Germany at the end of the Second World War, where
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the Generale de Gaulle pinned medals on different soldiers.
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Here, in Strobel's drawing, an Arab man, most likely from the
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former French colonies of North Africa.
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The scene took place about 100 meters away from the Koontz
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Museum, and Schrebel patiently, diligently draws it again.
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Nevertheless, what the visitors could see was a dirty wall
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bearing partial traces of people's hands and fingers, as
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if they did the unthinkable in a museum, which is to touch,
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which, unless prescribed, doesn't happen in art spaces.
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It always haunted me, this privilege of the curator, the
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technician, even the artist or the artist's family, sometimes
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their kids, who live with the artwork as if it was part of a
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strange ritual, passing from hand to hand, dusted, regularly
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cleaned. But when one sees the work in a
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museum, it is solely for the pleasure of the eyes, or the
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strange choreography of the viewer, as we call museum goers.
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Getting close, walking around, penetrating its face if it has
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one sitting in front of it. But doesn't the eye touch?
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Doesn't it feel textures in its own way, the delicate, feathery
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touch of a fragonard, the oily, mushy and yet dusty feel of a
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painting by Anselm Kiefer? Aren't compelling images more
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focused on contact than on haptic adventures?
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Haptane means to fasten. The emphasis was and still is,
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on what you do once you touch something.
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It focuses on the uses a connection allows for.
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But when there is an encounter, A tangential interaction, there
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is an exchange rather than an action.
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If I touch a hammer, it's to grasp it and move it in order to
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hit the nail and achieve something.
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Contact is simply the happening, sometimes unintentional, of a
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recognition, as in a reciprocal acknowledgement.
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But once contact has occurred, The thing is gone.
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The curve curves and only its negative remains.
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The light touching the celluloid coated with gelatin emulsion
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with microscopic photosensitive crystals create something else.
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Which we've called a photographic image, where the
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outlines of the shapes that form objects are drawn with light and
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shadow. The trace is a leftover layer
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which at times still bears a resemblance with a thing that
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made it. As is the case with photography
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most of times. And at times it doesn't.
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If romantics enjoy contemplating the absence of the presence, I
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prefer to think of the third thing, the line, the direction,
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the meaning, the compulsion, the finger mindlessly yielding
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electricity. To be in touch with our friends
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and family, we perform a sort of mindless contact, swiping,
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tapping, opening up a space of abstracted experiences.
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To be in contact is to have an open line of communication.
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To wear contacts is to re establish a constant and
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simultaneous relation with the visible world.
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The line is contacts. It's an immediate and continuous
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complementary relation between two behaviours.
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The stylus indents and the soft, grainy material of the ground
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receives and gives back the mark.
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Why think of this as an absence rather than a communication?
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But who is communicating in Julie Merichu's catalog, A
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universal history of everything and nothing?
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Marina Warner remembers listening to a lecture by the
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Moroccan scholar Abdel Fattah Kilito where he was asked who
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invented writing. I love his answer because it
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diffuses the nationalist hubris behind the question Kilito
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answered. Animals.
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It was animals who taught us how to read.
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Warner remembers the discomforts in the room and a few giggles.
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Notice that he puts the onus on reading, not on writing.
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Reading came before writing, at least symbolically, because we
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had to learn how to read the marks.
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Animals made the tracks on the ground, but also the flights of
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birds, Warner writes. But you'll say flights do not
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leave traces, and that's where I will say they do.
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Ideation is contacts. The emphasis on haptic devices
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is strange. They're not haptic, which is why
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they're so magical to us. They're weirdly technological
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and ancestral. By haptic we now mean device,
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which works through touch by reacting to it.
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However, haptic is usually a one way experience.
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You pick up a hammer and you use it.
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You grab a flat Pebble and throw it.
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But then the Pebble flies along the water tangentially.
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It affects it ever so slightly, forming circles as it rebounds
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over and over until it loses momentum.
00:23:56
In Portugal, most folk stories start with back when animals
00:24:00
knew how to talk, etcetera, etcetera.
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So they taught us how to form words too.
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Animals. Violen Luchu's work hybrid,
00:24:12
where she sings different bird songs, which she carefully
00:24:15
annotated during months and months of bird watching, awakes
00:24:20
A primordial memory. She translated different types
00:24:24
of birdsong into her own, invented symbols created for
00:24:28
each species so that she could interpret them by singing and
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become a hybrid between woman and bird, high bird.
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But to me it evoked this moment that never existed in such
00:24:43
purity, surely, where we discovered our own vocal cords
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and their possible sounds. They started by not being words
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just yet, like the approximative spelling you see in all archives
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when orthography wasn't totally calibrated.
00:25:02
The lightning in the sky is a letter before the Z ever became
00:25:06
one. The bird's footprint on the
00:25:08
ground was another letter before the Y.
00:25:12
You can see them on the wall of Paleolithic caves.
00:25:16
Pectiforms. You can see why graphine, which
00:25:20
is the ancestor of the word graphic, encompasses writing and
00:25:24
drawing through the line and the mark as contact.
00:25:28
Graphine contains a small part of the touching and touched
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body, which works not at the level of representation, but at
00:25:38
the level of information right after contact occurred.
00:25:48
In the Perigord in France there is a cave with art from the
00:25:52
Upper Paleolithic, but before that, way before humans started
00:25:58
going into the caves, bears lived there.
00:26:02
There's a whole area with hollow bear nests, circular beds which
00:26:08
look like craters where a group of bears slept soundly
00:26:13
hibernated. You can imagine the pace,
00:26:17
breathing of those strange animals, able to stand upright
00:26:22
but also moving on 4 legs between bipeds and quadrupeds,
00:26:26
as if hesitating whether to move to the humanoid side.
00:26:31
Another thing they did was to manicure their nails on the
00:26:35
walls of The Cave, which are made of a soft limestone, always
00:26:40
wet and damp, perfect for mark making.
00:26:44
I don't know if our retinas are different or if our retinas are
00:26:50
perhaps faulty, but the animals don't seem as mesmerized as we
00:26:54
are with imprints, traces and marks.
00:26:58
The Magdalenian people who used that cave noticed the claw
00:27:03
marks. They were used to read the
00:27:05
drawings of nature and started replicating them.
00:27:09
The bears taught them how to draw on the limestone.
00:27:13
There are some drawings made by humans over the ones made by
00:27:17
bears, but more importantly, the Hoofing Yak cave has many other
00:27:24
types of drawings, one of which is the line made by two or three
00:27:29
fingers across the walls of The Cave.
00:27:32
It reminds me of Kat Hinchwogle's wall, but here,
00:27:35
with lots of strange stories to tell.
00:27:38
Protuberant flintstones. Damp and thick surfaces,
00:27:42
progressively lit and thrown Into Darkness again by the
00:27:45
passage of people with torches. Their mammoths.
00:27:49
Rhinoceros bisons, but also tactiforms and finger flutings,
00:27:54
that is, walls and ceilings covered with Serpentine lines
00:28:00
made with the index finger or two fingers swiping, dragging
00:28:06
across the cold moon milk, a precipitate from limestone and
00:28:11
other aggregates. The Magdalenian people went to
00:28:14
caves for contact, as the bears had taught them.
00:28:20
As a Glaswegian artist, Carla Black put it, quote, the marks
00:28:25
will never dry and remain as malleable as the day they were
00:28:28
made. This to me is what art really
00:28:32
is, an impetus towards physical response.
00:28:36
I'm always trying to get back to that UN quote.
00:28:41
If we were suddenly giants stomping on the planet, looking
00:28:48
around, we would notice the precision of the drawings from
00:28:52
the time when animals could speak, or when we were still
00:28:56
collectively fluent in bird and bear.
00:28:59
We would see the economy of the mammoth depictions, their close
00:29:03
cohabitation with the naked and linear contact of the finger
00:29:07
flutings. We would also notice that in
00:29:10
Europe we suddenly became enthralled with these marks,
00:29:14
which became elaborate superimpositions of lines,
00:29:17
smudges, planes, thick patina taken to the utmost detail until
00:29:24
we couldn't take it anymore. And between the 17th and the
00:29:27
19th centuries of our current era, we had to invent
00:29:31
photography. We would certainly notice, were
00:29:35
we giants, that Europe is the exception, and that we've become
00:29:40
more and more attuned to the precision of the image.
00:29:44
To the point where we invented the screen called retina,
00:29:48
containing the little squares which compose our images in such
00:29:53
a way that they're sharper than our vision.
00:29:56
And so that we can move them, enlarge them, cut them with our
00:30:01
agile fingers, ceaselessly working the star milk of our
00:30:07
screens. This episode was recorded on the
00:30:16
27th of May. It is the first draft of my
00:30:25
lecture Breeding, I don't know what to call it, at the Mears
00:30:30
van der Hoe house in Barcelona. At this point, when you're
00:30:36
listening to this episode, the conversation will have taken
00:30:42
place, and so it may reappear in a third version on my sub stack
00:30:51
in the form of a text, most likely, as it usually happens.
00:30:56
So don't hesitate in downloading the app if you don't have it.
00:31:02
Sub stack is a really interesting form of social
00:31:06
media. It's as if Blue Sky and
00:31:09
Instagram had had a baby. So give it a chance and give it
00:31:15
some time. You can find, other than me,
00:31:19
other people who publish texts about medieval writing, about
00:31:28
birds, so many topics, about football, about gaming, so many
00:31:35
topics. You do have to check references.
00:31:39
You do have to do your own job, but that's what you're supposed
00:31:42
to do, isn't it? You're not supposed to just
00:31:44
accept what people tell you. You have to do your own
00:31:48
research. And I think that sub stack kind
00:31:51
of gives you that excitement of the maverick and at the same
00:31:55
time that responsibility of the adult modern awakened reader
00:32:04
that you are that you can potentially be if you want to
00:32:09
give it a chance. So I am in there as Joanna PR
00:32:12
Nevis. It's easy to find me.
00:32:15
And if you don't want to read, if you prefer to listen, well,
00:32:20
there's lots of past episodes. If you haven't listened to all
00:32:23
the episodes of Exhibitionist, this and there's also Instagram.
00:32:28
So don't forget to reach out to us if you have suggestions, if
00:32:33
you have comments, you can leave comments on YouTube, on
00:32:36
Instagram, on Spotify. It's great to hear from you.
00:32:41
I put these episodes out there and then crickets.
00:32:45
I don't know. And I'm so curious.
00:32:48
Anyway, it is an honor as ever to be in your eardrums.
00:32:53
I love that you stuck it out till the end and I will be back
00:32:59
in two weeks. If you want to know more about
00:33:02
the next episode, don't forget, subscribe to the newsletter.
00:33:05
You have a link to it in the show's notes or you can go to
00:33:10
exhibitionist.com on the page, the homepage.
00:33:14
So thank you. Take very good care of
00:33:17
yourselves. Thank you so much for being
00:33:20
here, and I will be with you very, very soon.
00:33:26
Have a good one. Exhibitionist is an indie
00:33:30
podcast with its perks and its productive challenges, but I'm
00:33:34
very thankful to be in your eardrums or somewhere in your
00:33:38
screens. Don't forget to support
00:33:40
independent content. Give us a nice rating, subscribe
00:33:43
to the newsletter and if you can, click on the show's notes
00:33:47
or go to our website and buy us a latte.
00:33:50
Thank you for being here, thank you for supporting us, thank you
00:33:54
for listening. Have a good one.