washing machine

'empty club gabriel orozco'

A train of thought reveals the process for what it is...today I spent the morning completing commercialisation module, which is now Im happy to say sent! this afternoon I was meant to be online with SE and EL for 3:30 supervisory session, however nothing happened...unsure what happened?? ok so form there i have spent the rest of the afternoon reading this time on mexican artist gabriel orozco...this thread came from the conversation between raimer strange (BM p144 art critic and exhibition commssionor and bismuth) strange references orozco as an artist who bismuth has interests in because of the open, available nature of his works. what was of interest to me was the term 'circulation system' initially coined by james lingwood. link-''circulation system'' in gabriel orozco, empty club, london, artangle, 1998. It liken to my theory of the 'washing machine' stage, that is, the invisible threshold between the artist and the viewer. lingwood describes as 'a material with which orozco could see in 'play' a series of dualities where the players and spectators in the model lose their identities...they now merge into a scenrio  with unknown rule (the billard table above has no pockets) taken from article..

Right at the heart of this imposing, inanimate building, and at the core of Orozco's project, the visitor encountered a tiny, moving centre. At the centre of a building in the centre of a city which considered itself to be the centre of the world, a red billiard ball hovered just above the green baize of an oval billiard table. Inspired by Foucault's pendulum which, in the 17th century, had given empirical evidence to the proposition that the earth was not the still centre around which the planets orbited, but was itself a mass rotating around the sun, the red ball was a perpetuum mobile. The destruction of certainties implicit in Foucault's exposition was echoed by the construction of the game without its conventional limits and rules. The billiard table's traditional rectangular shape was transformed into an oval. The game was possible, indeed enjoyable, to play, but it was one in which the rules, the scores, the limits had to be rethought or invented. The movement of the balls, like planets in the cosmos or atoms in a demonstration of the laws of physics, fractured the silent suspense of the sleeping building: the sharp retort of the white ball cracking against the red, setting the pendulum in orbit around and beyond the limits of the table, set many of the ideas informing the conception and realisation of Empty Club in motion.

this confirms the notions of 'play'. Oscillates-to move back and forth, the the input from the artist behind the idea and the viewer called in to particiapte in it. A good example i read here was orozco 'parking lot' in which he opened an art gallery as a parking space to any passing motorist...'the anonymous (guy brett 1998) motorist and symbolic car slip into the role of the 'protagonist' by crossing the 'threshold' between one context and a another, which are as much mental and physical, maybe invisable to one person as they are loaded with meaning to another...'

lastly..looking over writings from last year, i.e. paper and then referring to current thinking...i can confirm that it is not the creative process as a process i am dealing with here, but the looking in on that process, I guess in the same was 'rear window' is viewed, the spectator being impassive to the situation because he/she use mechanisms to speed up of slow down what it is to be viewed but participate as one they share common ground with the artist and or the creative process and two the material realised will be reinterpreted in a new way. the washing machine (circulation system) allows for this because it is a continuation and 'open' to a train of thoughts given originally from the artist onto the viewer...a temporal act that continues on and on..