| 1. |
|
|
| 2. |
- Frichot, Hélène, 1970-
(författare)
-
David Ralph : In Captivity
- 2008
-
Ingår i: Landscape Architecture Australia. - Melbourne, Australia : Architecture Media. - 1833-4814. ; 118, s. 31-32
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
|
|
| 3. |
- Frichot, Hélène, 1970-
(författare)
-
Folds for Marion Manifold
- 2010
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Deep Mapping for the Stony Rises is an assemblage of the topographies and topologies encountered in the making of a cross-landscape environment for six particular places in the Stony Rises of Victoria and the Flinders Ranges of South Australia. It is an experiment in the superpositioning of gathered and invited material interleaved with a stratigraphy of text – as a kind of writing over writing over writing where points once separated in time are made adjacent2 – through the medium of the gridded mat. The ten elements for a deep map are guides for peripatetic travelling through stony terrains shaped by curatorial fine-tuning further informed by instructions from collaborators, when such advice exists. Arrangements of collected, invited and offered fragments of impressions gathered across these landscapes are ordered and layered onto conceptual ground – the deep mapping mat to be laid out, reorganised, folded up and carried about as necessary. At the invitation of Gini Lee, who was one of the cited artists of 'The Stony Rises Project', I submitted a set of drawings to be used and composed at her discretion as part of her curated contribution, 'Deep Mapping.'
|
|
| 4. |
- Frichot, Hélène, 1970-
(författare)
-
Olafur Eliasson and the Circulation of Affects and Percepts : In Conversation
- 2008
-
Ingår i: Architectural Design. - London : John Wiley and Sons. - 0003-8504 .- 1554-2769. - 978 0470 51254 8 ; , s. 30-35
-
Tidskriftsartikel (refereegranskat)abstract
- The work of Danish-Icelandic artist, Olafur Eliasson is suffused with an internal atmospheric that profoundly impacts upon the experience of those who apprehend his projects. Through an array of manufactured weather conditions, wild and moody landscapes improbably enter the framed interiors that he creates. Eliasson’s atmospheric works have become increasingly compelling for interior and architectural designers alike as he activates a mobile circulation of affects and percepts creating an intimate relay between the artwork and those who enter into a zone of indiscernibility with the work. Through the manipulation of the colour, transparency, and reflection of light, Eliasson dissolves the material of interior space into the immaterial qualia of atmosphere and captures the fragile visitor in this embrace. Here I hope to go in search of a tentative theory of affect for the artist’s work in order to discover how he has enacted the mutual transformation of space, time and inhabitant. The immaterial materials of atmosphere that Eliasson manipulates move beyond mere surface effect and open up the possibility of new forms of sociality. This brief essay will recount a collective conversation that erupted in the midst of a midsummer forum held at Studio Olafur Eliasson, next to the Hamburger Bahnhof, a reputable museum of contemporary art in Berlin. The leitmotifs of the longest day of the year included temporality, or the inexorable sensation of the passing of time; the status of reality; objecthood, specifically the place of the art-object in contemporary art, but also the medium of the model or maquette; and the perception of colour and light, for example, in the phenomenon of the after-image. The event was named: Life in Space, and was attended by a series of culinary delights that culminated in a BBQ to which all the family was invited.
|
|
| 5. |
- Frichot, Hélène, 1970-
(författare)
-
Your Mobile Expectations
- 2008
-
Ingår i: Artichoke. - Melbourne, Australia : Architecture Media. - 1442-0953. ; 22, s. 74-75
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
|
|
| 6. |
- Frichot, Hélène, 1970-, et al.
(författare)
-
Clinic for the Exhausted : An Architectural Exploration of the Imaginary Techniques of Raymond Roussel
- 2010
-
Ingår i: Imagining.... - Newcastle, NSW, Australia : University of Newcastle.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The French writer Raymond Roussel has been described as the Marcel Proust of dreams, and it is a curious fact that the two writers’ mothers were friends, for it is as though they were both infected in the cradle by a maternal imaginary that would haunt their delicate constitutions and trouble their ascent into the realm of the symbolic. With this paper we will present a few of the surreal methodologies that Roussel employed to write certain of his novels and plays. We will argue that the imagination here is not simply the faculty that allows for a free play of images and ideas, but that it also offers a methodology by way of associations between images and ideas that can be followed even while these proceed at a break-neck speeds. Michel Leiris explains that Roussel was not interested in anything real, or on any observations of the world, but only upon completely imaginary compositions. Some of the methods or compositional techniques that Roussel professes to employ include taking two sentences that sound the same, but from which two different senses can be derived that allows the writer to arrive at distinct scenarios; choosing a random phrase and employing phonetic word play to create a different sentence; conjoining words with multiple meanings; and other similar disturbances and slippages of language making the textual medium an uncertain and precarious one. Influenced by the textual methodologies of Roussel, which seek to disrupt the common sense meaning of language, the architectural imagination that we will present belongs to the work in progress of Michael Spooner’s A Clinic for the Exhausted, a design research project that is composed of four clinics, each an architectural exposition on Edmond & Corrigan’s Building Eight, RMIT University. We will focus in particular on the clinic entitled, The Swimming Pool Library, submitting a performance of the design imagination at play as it gathers associations of images and ideas that disrupt our expectations of how a design methodology should conventionally proceed. As Michel Foucault explains, on encountering Roussel’s work, “the reader thinks he recognises the wayward wanderings of the imagination where in fact there is only random language, methodically treated.” Building Eight’s discontinuous genealogy in A Clinic for the Exhausted is offered as evidence of how Roussel’s compositional ambivalence can be mobilised in the exploration of design methodologies pushed to their limits, unmooring what we understand to compose the architectural imaginary and in turn, questioning how we go about constructing our architectural edifices.
|
|
| 7. |
- Frichot, Hélène, 1970-
(författare)
-
She speaks as she is not one
- 2010
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- She was brought up between languages. Where French was only rarely whispered at home, and remained incomprehensible in the context of her father’s family, who mixed it up with Creole, English remained the maternal language of the everyday. Her mother majored in French, and that is how her parents met and made her, by passing the language back and forth between them, and by the careless passage of expended fluids. In response to this long lost whispered discourse of lies, loss, and fluids, this critical spatio-temporal practice will engage in the liminal space that is created between curtain and window. A chair with a slip cover appropriated from Julieanna Preston’s installation will be placed behind the curtain, and will face toward an adjacent wall. From within the partially hidden place located behind a drawn translucent curtain, hung before a window, two sets of lips, one present, one absent, will mutter Luce Irigaray’s text, ‘The Mechanics of Fluids’ and move the curtain by way of the whirlwind of the breath. The recorded voice of the notional mother, with traces of an Australian accent, will read the text in the original French, and the daughter’s live voice will read over the mother, interrupting her, and making the occasional passing remark on the text, in the translated English. The father’s voice will remain absent. The daughter’s voice will be multiplied and performed by invitation: two books will be provided, one with the original French version of Irigaray’s ‘The Mechanics of Fluids’ and one holding the English translation. ‘Daughters’ will be invited to take a seat behind the curtain and read fragments of the English translation, so that the live voice of women are to be heard murmuring over the recorded voice of the notional mother who speaks the text in French.“She speaks as she is not one”, a creative project included in Prof. Jane Rendell, convener Whirlwinds panel, in Sexuate Subjects, Bartlett School of Architecture, UCL, UK (3-5 December, 2010).
|
|
| 8. |
|
|
| 9. |
- Frichot, Hélène, 1970-
(författare)
-
A House for Hermes #01
- 2007
-
Ingår i: Landscape Architecture Australia. - Melbourne, Australia : Architecture Media. - 1833-4814. ; 116, s. 64-67
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
|
|
| 10. |
|
|
