2004. ARTISTS / INTERVENTIONS / LINKS
Emancipator bubbleBubble Business www.emancipator.org
Diana LarreaEl palacio encantado www.dianalarrea.com
El perro Virtual DemolitionIvan López, Ramón Mateos, Pablo España. Fundado en 1989 y disuelto en 2006www.elperro.info/vdm
Maider López Carteles Y banderolas
Etoy.CORPORATION www.etoy.com
Fernando López Castillo Perspectiva ciudadana
Warren Neidich+Elena Bajo Silent www.elenabajo.comwww.warrenneidich.com
Wolfgang Weileder House-Madrid www.wolfangweileder.comwww.fold-up.infowww.house-proyects.comwww.transfer-project.org
Sans Façon Tristan Surtees, Charles Blanc www.sansfacon.co.uk
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2004. Sans Façon. S/T (location)
Depósito elevado in Plaza de Castilla
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2004. Sans Façon. S/T (theoretical data)
Sans Façón is a collaborative practice between an artist and an architect. Our works are defined by their relation to places, incorporating the situation and the qualities of any given environment as an active part of an installation.
We use the interventions as a filter through which one can look differently at a place, Exposing the conditions of this place, the workings, the structure, by the slightest intervention creates a shift that allows the site to be seen anew. We aim to create something that can be celebrated, not for its magnificence but tor what it reveals, what it allows to be seen, enjoyed and thought about: the site. We use interventions as a tool to enrich our perceptions.
«She was te/ling him: "I don't see what you see" and him: "It is possible that I add, I admit it, but the essentiei is in the things, their power to provocate l. .. I. it's indisputable and my sole interest as a guide is to be able to reveal them to you."»Yves Berger, Santa Fé.
Our proposal for Madrid Abierto is based on the depósito elevado. This building is a very good example of a banal urban object with no pretension, it is technical and useful. It is the kind of structure that passers-by don't look at beca use it is not labelled as worthy, it's just a water tower. But what a water tower and what a setting tor it. Our installation intends to make people look again, not to look at an artwork on the side of it but enjoy and appreciate this emblematic and impressive structure.
We propose to clad the pillars ot the tower with acrylic mirrors. Firstly creating a different experience of this object, the buildings reflected on the pillars present a new reading of the surroundings, the reflections create an ever-changing appearance to the structure.
Furthermore it plays with and expresses the architectonic quality of the building. The reflections create a sort of transparency, the weight of the concrete tank becomes much more present once the holding structure disappears (whilst remembering the unfinished stage the building was in for 7 years because of political turmoil). This big mass of concrete hovering in the air creates a disturbing and uncomfortable vision of the building, this technical construction doesn't seems to fulfil its structural function anymore. The altered aspect of the water tower questions the immutable state of our built envíronment.
The intervention transforms the depósito elevado into a "sculpture" just by renewing temporally the experience of looking at it.
For a period of time the depósito elevado becomes an event. Previously just part of our everyday peripheric observation, it acquires a new existence through memory and imagination once the event has passed.
«Lite itseft has summoned into being this poetic deity which thousands will pass blindly by, but which suddenly become palpable and terribly haunting for those wtio have at last caught a confused glimpse of tt.»Louis Aragon, París Peasant.
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2004. Sans Façon. S/T (published text)
Sans façon is a collaborative practice between an artist (Tristan Surtees) and an architect (Charles Blanc). Theirs works are defined by their relation to places, incorporating the situation and the qualities of any given environment as an active part of an installation.
They use the interventions as a filter through which one can look differently at a place. Exposing the conditions of this place, the workings, the structure, by the slightest intervention creates a shift that allows the site to be seen anew. They aim to create something that can be celebrated, not for its magnificence but for what it reveals, what it allows to be seen, enjoyed an thought about: the site. They use interventions as a tool to enrich our perceptions.
She was telling him: “I don´t see what you see” and him: “It is possible that I add, I admit it, but the essential is in the things, their power to provocate [...], it´s indisputable and my sole interest as a guide is to be able to reveal them to you.Yves Berger, Santa Fe.
Their proposal for Madrid Abierto is based on the Depósito Elevado. This building is a very good examble of a banal urban object with no pretension, it is technical and useful. It is the kind of structure that passers-by don´t look at because it is not labelled as worthy, it´s just a water tower. But what a water tower and what a setting ofr it.
This installation intends to make people look again, not to look at an artwork on the side of it but enjoy and appreciate this emblematic and impressive structure.
The intervention propose to clad the pillars of the tower with acrylic mirrors. Firstly creating a different experience of this object, the buildings reflected on the pillars present a new reading of the surroundings, the reflections create and ever-changing appearance to the structure.
Furthemore it plays with and expresses the architectonic quality of the building. The reflections create a sort of transparency, the weight of the concrete tank becomes much more present once the holding structure disappears (whilst remembering the unfinished stage the building was in for 7 years because of political turmoil). This big mass of concrete hovering in the air creates a disturbing and uncomfortable vision of the building, this technical construction doesn´t seems to fulfil its structural function anymore. The altered aspect of the water tower questions the immutable state of our built environment.
The intervention transforms the depósito elevado into a “sculpture” just by renewing temporally the experience of looking at it.
For a period of time the depósito elevado becomes an event. Previously just part of our every day peripheric observation, it acquires a new existence through memory and imagination once the event has passed.
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2004. Sans Façon (Cv)
CHARLES BLANC / SAINT ETIENNE, FRANCE, 1974TRISTAN SURTEES / UNITED KINGDOM, 1977LIVES AND WORKS IN GLASGOW WWW.SANSFACON.CO.UK
CHARLES BLANC1999· March, Advanced Architectural Design, Universidad Strathclyde, Glasgow.
1998· DPLG, Escuela de Arquitectura de St. Etienne.
TRISTAN SURTEES2000· BA Hon´s, Escuela de Arte de Glasgow.
1997· HND, Leeds College of Art and Design.
PROJECTS ON COURSE2003· Fish Quay, instalación temporal en North Shield, Newcastle.· Stories, diseño de instalación en colaboración con Nick Bone, Magnetic North Theatre Company, Scotland.· Billboards, serie de instalaciones en escaparates comerciales, Glasgow.· Weeds, serie de instalaciones sobre la vegetación urbana, Glasgow.
2002-2003· Viewing platform, comisariado de arte público para Valot wetland, Devon. · The walled garden, comisariado de arte público en Gorbals, Glasgow. · Millennium Award, investigación y diseño de una audio-librería para la ciudad de Glasgow.
PREVIOUS PROJECTS2001· Stirring the City, comisariado y diseño de exposición de Gorbals Artworks Programme, Lighthouse, Glasgow.
2000· Zones, programa estudiantil de la Escuela de Arte de Glasgow, 3º year Environmental Art.· Samples, grabación del la Plaza de la Reina Elizabeth antes de su demolición, Glasgow.
GROUP EXHIBITIONS2002· Private view. Dun Laoghaire, Irlanda.· En Passant, Sacy-le-Petit, Francia.· Traces, exposición colectiva, RK Burt, Londres.
2001· CATS, exposición colectiva. Dundee Contemporary Arts.· Stirring the City, exposición colectiva en The Lighthouse, Glasgow.
2000· Royal Scottish Academy, exposición colectiva, Edimburgo.
· Clear @ Home, exposición colectiva, Glasgow.
PUBLICATIONS2003· C.I.P.02, catálogo de exposición, Dun Laoghaire, Irlanda.
2002· En passant, catálogo de exposición, Sacy-le-Petit, Francia.
2001· Views of the West Coast of Scotland, producido por Book Lab™, comisariado por Cove Park.· Sans façon, publicación propia.
2000· Desire line, publicación colectiva publicada por la Escuela de Arte de Glasgow.
1999· STARTS, publicación colectiva publicada por la Escuela de Arte de Glasgow.· Becas
2002· Sacy-le-Petit, Picardie, Francia.
2001-2002· Dundee Contemporary Arts, Creative and Technical Skills Training Programme.
2001· Cove Park, Outside the Box, Escocia.
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