About

The documentation of ephemeral artwork, works made to be transient, changeable and un-fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporarality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. Experience is difficult to replicate through a lens. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority.

Documents, Alternatives is developed from the Alternative Document, a large-scale multi-mode project that occupies the complex, yet topical terrain of documentation, acting in response to the antithetical practices of lens-based methods historically used to archive and record ephemeral works. Contributing to the extremely topical conversation in the field of appropriate and different modes of archive, this will leads to a resource that will be available to, and inform new audiences on the complexities and potential of the subject. The project aims to accommodate diversity of approach and access, and to include multiple voices and modes of output. It asks for artists and their artworks to respond to different sites and conditions, and encourages change and modification to occur.

About

The documentation of ephemeral artwork, works made to be transient, changeable and un-fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporarality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. Experience is difficult to replicate through a lens. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority.

Documents, Alternatives is developed from the Alternative Document, a large-scale multi-mode project that occupies the complex, yet topical terrain of documentation, acting in response to the antithetical practices of lens-based methods historically used to archive and record ephemeral works. Contributing to the extremely topical conversation in the field of appropriate and different modes of archive, this will leads to a resource that will be available to, and inform new audiences on the complexities and potential of the subject. The project aims to accommodate diversity of approach and access, and to include multiple voices and modes of output. It asks for artists and their artworks to respond to different sites and conditions, and encourages change and modification to occur.

Documents, Alternatives

About

The documentation of ephemeral artwork, works made to be transient, changeable and un-fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporarality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. Experience is difficult to replicate through a lens. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority.

Documents, Alternatives is developed from the Alternative Document, a large-scale multi-mode project that occupies the complex, yet topical terrain of documentation, acting in response to the antithetical practices of lens-based methods historically used to archive and record ephemeral works. Contributing to the extremely topical conversation in the field of appropriate and different modes of archive, this will leads to a resource that will be available to, and inform new audiences on the complexities and potential of the subject. The project aims to accommodate diversity of approach and access, and to include multiple voices and modes of output. It asks for artists and their artworks to respond to different sites and conditions, and encourages change and modification to occur.