I started to research into the work of Gordon Matta-Clarke as my practise has become more destructive in nature. His exhibition ‘Anarchitect’ at the Bronx museum Looks at the manipulation of urban architecture through the means of physically meticulous removal of shapes and sections, sculpting the building. He has been known to cut out wholes through buildings which are soon to be demolished.
Having lived in New York, Paris and Chilli as well as studying Architecture, Matta-Clarke became a voice in rejecting the commodification of art, with his sculptures coming in the form of ‘large scale interventions into exciting architecture’. These temporary works which consider of sections of buildings being completely removed were documented through film and photography.
Matta-Clarke also ended up displaying the corners of the house roof which he saw away form the house in New Jersey which he saw in two. These roof corners where then displayed in John Gibson Gallery in New York, which to be is an interesting relationship between the rumour of the work becoming the piece and its memory, vs the sculptural element. The reclaimed corners which now sit in a gallery are a bridge to the event which occurred but also sit as objects in their own right.
Matta-Clarke echoed his enjoyment of manipulation through cutting photographical work. He made a point to destruct the negatives of his films before development. This reflects the practise I’ve developed of photographic manipulation and the concealment of information in a two dimensional form rather than sculpturally as done in the Anarchitect works.
For the Biennale de Paris 1975 Matta-Clarke created ‘Conical Intersect’ by cutting a large cone-shaped hole through two seventeenth-century townhouses due for demolition. This created a shift in the controversy of the time as the Centre Georges Pompidou was being propositioned for the site so he decided to create a completely different event which had its own public interest rather than participating in the running commentary on the Pompidou centre. I think its an interesting approach to art, moving towards the way in which Francis Alÿs works, where the piece revolves around the participation through conversation of the public. It shifts the focus form the action to the reception.