On the Holes of History: Gordon Matta-Clark’s Work in Paris : PAMELA M. LEE
October, Vol. 85, Summer 1998
While the confusion of architectural orientation was pronounced enough at a phenomenal level, Gerry Hovagimyan, who assisted Matta-Clark on a number of projects, remembers that this implied cone-like void bore a marked point of refer- ence: Anthony McCall’s film Line Describing a Cone (1973). “The film began with a dot of light,” he notes, “the throw of the projector gradually [making] a cone of light in the room.”10 This cone of light, a nonmaterial form, apparently generated the idea of the spiraling cut for Conical Intersect. In both McCall’s film and Matta- Clark’s building, the work is shaped by a literalized absence. (71)
10. Hovagimyan, interview by Joan Simon, in Gordon Matta-Clark: A Retrospective, p.88.
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The hole of Conical Intersect can be considered in relation to other aspects of the Beaubourg, specfically the interior of the center, the aesthetics of transparency, and the ideoologies of public space attached to both. ..Precisely because Conical Intersect was so excessively transparent- and yet so inaccessible- it ironized the quivalence bewteen architectural transparency and community.
Architectural transparency에 저항하고, publicness of building을 subvert했다.
Conical Intersect, however, tacitly critiqued the interwining of art and architecture as necessarily available. In part, it did this by literalizing that relationship: by using a building as its principal medium, it collapsed the mythical publicness of the architectural site onto the more obscure art object itself. Thus the flagrant implication, the ideology of architectural transparency, and the public reception of art attached to it, was challenged by the holeyness of Matta-Clark’s project. (84)