Gordon Matta-Clark 이것저것

Gordon Matta-Clark

Richard Wilson

architecture becomes art . intervention.

Anarchitecture / Non-ument / Unbuiding

gordon.jpg

The Interruptive Spaces of Gordon Matta-Clark
Eleni Axioti

Gordon Matta-Clark is a producer of architectural accidents. Clark’s ‘building cuts’ were actual holes on the building that tested the building’s support system.

Matta-Clark’s actions were formal and aesthetic investigations on a tangible architectural
vocabulary that targeted the symbolic and cultural status of architecture. They are comments on a conventional architectural system; a play at the very limits of property and
its appropriation;

Matta-Clark referred to his spaces as ‘interruptions’:

These fragmented and therefore, ‘improper’ spaces challenge the classic conception of a coherent and well composed architectural space. This recognition of architecture’s
paradoxes allowed Matta-Clark to reject any spatial absolute.

Day’s End (1975) Splitting (1974) 이거 참조 

 

Site Unseen : Greg Blair

그의 작업이 violent 한 게 아니라는 포인트 쓸만함? less an act of violence and more a form of play.  

Matta-Clark is perhaps best known for his “cut” pieces—physical interventions into architectural spaces.

In fact, a close and rigorous reading of Matta-Clark’s “cuts” can reveal that they are not
primarily (or even predominantly) acts of mindless violence. Rather, I argue that they should be considered as strategies of resistance to the spatial distribution of power and the discursive reorganization of urban space.

The development of Matta-Clark’s ideas about, and the deployment of, “the cut” as both a philosophical concept and a spatial strategy of resistance are inextricably connected to the fusion of place and thought manifested in the Fake Estates project.

작가는 Le Corbusier 식의 architecture theory에 antipathy.

It is perhaps not surprising that “Moses’s vision derived from the popular
urban design theory of the day promoted by French architect Le Corbusier in his 1925
plan for Voison for Paris,” which included the ruthless demolition of the current urban
landscape in favour of a “revolutionary re-design of the city.”

A significant transition in Matta-Clark’s thinking occurred during this time regarding the relationship of place and identity.

also led Matta-Clark to consider how places themselves can be marginalized within a larger spatial organizational system. For Matta-Clark, place and identity were so closely related that their relationship was ontological.

During his years at Cornell, the school was steeped in the ideological auspices of Modernist architecture, exemplified by the designs and theories of Le Corbusier. Matta-Clark’s antipathy “linked the abstract tendencies of modern architecture… with the degeneracy these models wrought in the urban environment, [as] witnessed in the failed
housing projects of the Bronx.”

As Judith Russi Kirchner describes in her analysis of community in
Matta-Clark’s artwork—“resisting the regulatory systems that dominated the urban
environments he inhabited, Matta-Clark’s signature work literally sliced into and deconstructed the political and social function of each of his sites.”

The strategy of resistance that Matta-Clark developed by thinking with/in place was
not strictly opposed to power, but rather sought to expose the distribution of power in place..

Matta-Clark’s intention was not to emancipate or grant the places agency. His strategy should be thought of more as an equivalent to play. By playing with place, Matta-Clark’s strategy was to loosen the grips of the imposed state authority used to designate
the character and value of place.

At the heart of the Fake Estates project was a desire to reveal the power relations.

Matta-Clark activated the Fake Estates as political heterotopias of deviation—as a
means to subvert the state control of space. In doing so, the “cut” became was less as an act of violence and more a form of play. As a form of play, the strategy of resistance developed by Matta-Clark with/in Fake Estates is akin to what Judith Butler calls a “reiteration of power.”

As noted in the preceding pages, the physical act of cutting was not something novel for Matta-Clark in 1973. However, Fake Estates should be acknowledged as the first project in which Matta-Clark envisions a “metaphorical cut” as a philosophical concept and strategy of playful resistance—as a means to develop an interstice— a heterotopia of deviation. By thinking with/in place Matta-Clark was able to arrive at a new realization of the non-physical implications of “the cut.” Through the situated nature of the Fake Estates project, Matta-Clark was able to respond to the particular conditions of the place and conceive of the “cut” as a method to question the decisions “regarding how we order and organize entities, subjects, bodies [and places].” Through the crucial situatedness
of thought, the Fake Estates project enabled Matta-Clark to employ “the cut” in an entirely original manner that did not require a physical incision, but created the potential to disrupt the existing perceptions and supposed fixed identity of the properties.

 

 

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