EXERCISE 2 - Invasion

In this exercise you are asked to invade a domestic space with elements that are foreign to it. You will
build up a quantity of materials to develop an installation that aims at subverting the use of a familiar
environment.

EXERCISE 1 - Obstruction

In this exercise you are asked to choose a passage or a threshold within a domestic or private space in which you will set up an installation that operates as an obstruction. Installations can lead you to redefine known spaces and generate fresh possibilities for how they are used and experienced.

While creating woman, God promised men that good and obedient ones would be found in all corners of the world. 

Then He made the earth round.

“Paradise under the Ceiling” envisages the establishment of a paradisiacal world in one’s own room. And paradise not in a figurative sense, but in the most literal, real sense of that word. Usual theories and notions of space assign it to some worlds that are remote in time and place, inaccessible to our real presence, worlds about which we can only dream and guess, but in reality it is impossible to see them: they exist too high and far away, if they exist at all.

(Kabakov, E & I 1998, 24)

notes from unit Study Guide

Working method: How to develop your ideas

1. Primary Research: Jot down ideas and find relevant artists and artwork. Read, observe, take notes, take photos, brainstorm, and make preliminary sketches. Record your initial ideas and thoughts in your visual diary.

2. Applied Research: Make detailed sketches, make maquettes (small scale models), sample materials, take
measurements, experiment, explore and visually investigate your ideas through materials and processes.  Document the outcomes in your visual diary.

3. Idea Development: Based on steps 1 and 2, re-assess your ideas. Use your visual diary to note possible variations to form, size, or materials or other ways to enhance the work. If necessary repeat either of the first
two steps again.

4. Resolution: Construct the work and document it. Your final resolve for the project could be a starting point to be developed further at a later time.


Documentation of your work



Context – How does the environment in which you place your work effect its meaning? For example
an object will read differently when placed on sand than on a concrete floor. If what you produce
does not need to be contextualised (i.e. it requires a white space) choose/create an environment free of
visual interference.

Format – choose a medium appropriate for the documentation of your work (e.g. video, slide,
photographs, digital media, etc.). Consider various possibilities, as your first choice of media may not
necessarily be the most effective. For example video as the immediate choice for documenting a
performance may not necessarily be as effective as a series of still photographs.

Editing - your documentation should clearly describe your work. Think about the editing process and
do not submit all your documentation; if two images give the same information about the work then
only include one.