Graham Budgett: [moMs] museum of MODERN space, 2004
Further extending the field for creative work in three-dimensional space by
assembling the first off-earth
Sculpture Park, virtually
cyberspace and actually
in outer space, as an archive of resituated
Modernity. Simultaneously, establishing a venue beyond the terrestrial
constraints of ground and gravity for new work that explores the formation
of Modern and Future Space.
Bird in Space
151.7 cm high [with base]
"a project before being enlarged to fill the vault of the sky
the artist describing Bird in Space
Auguste Rodin, "The Burghers of Calais
Auguste Rodin rejected the traditional grandiose pedestal for this public space commission,
instead opting for a minimal base that situated his figures on a human scale.
A small step from the pedestal for Rodin's figures extends
to a giant leap into the void for Modern Sculpture...
"The study of form and structure as opposed to function
Chambers Dictionary of Science and Technology
Over time, the morphological approach to research reveals deep-structural
congruence across otherwise dissimilar fields.
"Facism aestheticizes Politics, Socialism politicizes Aesthetics.
With an emphasis on structure, Benjamin's dialectic approaches synthesis as
Raymond Duchamp-Villon, Le Cheval,
"The fusion of horse, traditional symbol of power, and the machine that
was replacing it, reflects the emerging awareness of the new technological age
Peggy Guggenheim Collection.
But also from 1914, mechanized war
and cultural upheaval
World War One; revolutions in Russia
and Germany; the Soviet and Weimar Republics;
the rise of Mussolini, Hitler and Stalin; the Futurists of
Italy and the USSR; the Dadaists of Berlin and Paris...
Using a Sculpture Park
model, demonstrating how New Technology
rehabilitates Modernist constructs seemingly ill-suited to the Information Age of art.
click to view 3D model
Vladimir Tatlin's DNA prescient double-helix, 'Monument to the 3rd International'
[intended to out-Modern
Eiffel's tower with revolving
forms for Cinema, Telephone Exchange, and Information Ministry] has
remained unengineerable since its moment in 1920. Long viable only
as symbolic form, its reification in space is now an eventuality.
Marcus Novak's transarchitecture
- existing predominantly in cyberspace - is algorithmically generated or 'bred'
and, like Tatlin's virtual
structure, can be interpreted as symbol and
agitprop for radical innovation beyond the realm of architecture per se
algorithmic art ...tracing
the algorithmic beyond 'Computer Art' or 'Digital Art' to a broader,
more mature, Information Art and its context
"the inverse of form, which is to say, formless"
Sculptor Robert Morris' concept anti-form
"the gaps become the index of the horizontal vector understood as a force constantly
active within the vertical field.
Rosalind Krauss on Robert Morris' felt hangings in "Formless: A User's Guide
Terrestrial form resists the dispersive function of gravity - horizontality
or the tendency toward global
[or planetary as
opposed to planar
] surface distribution.
Sir Anthony Caro, table-top sculpture, 1977
space as contingent matter, not void
Toward an 'ideological critique' of form and immanence:
in space, form is not earthbound
- not geotropic
The very first television picture of earth from space was taken by
the TIROS-I Satellite on April 1, 1960.
Also in 1960, Socle du Monde
] by Piero Manzoni posited the Planet Earth as Sculpture,
back on the [inverted] pedestal.
On the surface, glslang
- Graphics Library Shading Language -
negotiates the examination and navigation of form
space; pathologically it renders an immanent
and phobic projection of earthly bodies into the void of actual space.
environments like glslang, coupled with
nanotechnology and the utilization of say 'solar wind' as an imaging
medium, may soon enable the spectacular visualization of form
As ever, technological representation will likely
precede rapid manifestation; moMs will be situated and ready
with content for a renovated and extensible poetics of space.
- just as the morph is imaged, the clone is cultured.
Post simulation, human bodies will need to be engineered for space.
motive: abreaction [local myth revisited as global]
'Critual', Graham Budgett and Sebastian Mendes, 1977
crit of a crit
[at Saint Martin's School of Art]
steel sculpture, surveillance video, image/text, photography,
'safety' posters, music score, choreography, props, etc.
At Saint Martin's School of Art in Central London in the mid-1970s
they spoke a lot about space, form and gravity - partly a reaction to the
anti-gestural, recently 'expanded field' of The New Sculpture
partly localized morphology. SPACE was more contingent matter
than void, FORMALISM the critical method, GRAVITY a tolerated impediment.
Sir Anthony Caro necessarily affirmed gravity and 'groundedness'
in his work and his pedagogy, he was the champion of welded metal sculpture,
but a defiance of ground and gravity always remained on the agenda in
the Saint Martin's critique and critical discourse.
A quarter-century on, virtual
space simulates conditions ideal for Caroesque sculpture unencumbered by terrestrial
gravity. Weightlessness, Zero-G, flotation
... we call it levity,
the opposite of gravity, but gravity's inverse is actually outer-space,
the ideal environment for formalist spatial experiment.
[moMs] museum of MODERN space
Announcing the first off-earth Sculpture Park. At moMs gravity no longer
prevails on the immanence of human spatial consciousness and it's history.
Here levity rules. A small step from the pedestel for Rodin's figures
extends to a giant leap into the void for Modern Sculpture.