The question, then, is to insert the signs of language into this already-produced reality-sign---the painting; we must open out, release, and set side by side what is compact, condensed, and meshed. We must then find our way through what separates the place where “I” speak, reason, and understand from the one where something functions in addition to my speech: something that is more-than-speech, a meaning to which space and color have been added. We must develop, then, a second-stage naming in order to name an excess of names, a more-than-name become space and color---a painting. We must retrace the speaking thread, put back into words that from which words have withdrawn.
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contents
- MAIN
- PRE-CREATION
- CREATION
- RE-CREATION
- Why transduction?
- Praxis
- The new
- Potency: experience and experimentation
- Duration, progression, stages
- Educational transduction / Enhancement of potency / Transduction: love and pedagogy
- Obama Trump
- Double bind
- Estefania
- Iban volteando el colt
- Cow-boy
- Kristeva
- Bibliography
- Iñaki Imaz Urrutikoetxea
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navigation
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abstract
From the conviction that artistic practise is, in a deep sense, investigation, this exhibition is about its relationship to teaching. It is about the search for a balanced way to articulate the discursive and the material; it is about making art while speaking or writing about it without renderning it banal or attempting to exhaust the meaning of producing and what is produced; without intending to justify it solely through the ineffable nature of the material. As a possible means of resolving this, I propose transduction as a methodological resource for making the passage from the studio into the classroom a natural, effective movement. Transduction is then seen as an exemplary resource for supporting artistic discovery without the need to analyse or explain it while making full use of it. The most important contribution of this exhibition is that here, transduction is not seen merely as an object for speculation and analysis, but as the way in which the exhibition has grown and taken shape. These texts were written while the paintings were being made and the exhibition environment designed, in different styles (summary, theoretical reflection, manifesto). The relationship between text and image is not exactly the habitual relationship between work and its representation, but is constructive and structural in the sense that I have attempted to form the exhibition as a work in itself. I consider this exhibition to be of interest to anyone preoccupied with art education as a practice.
- Iñaki Imaz Urrutikoetxea - Educational transduction - 2016
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