Het onzichtbare zichtbaar maken


_Carolien


Post No 09.


The Maison Martin Margiela team in 2008,
with an empty seat for Martin Margiela
Photographed by Annie Leibovitz, Vogue, September 2008



De jas wordt onzichtbaar voor de ander.

Ik maak de jas zichtbaar voor mijzelf maar hou het onzichtbaar voor de ander.
De jas als een draagbare documentatie van mijn zoektocht om ruimte te maken als beginnend docent. dicht bij mijzelf. [Mode 3]

Wat draag ik? Wat draagt mij?

Door de onzichtbaarheid te omarmen. werd het onzichtbare zichtbaar en gaf het inzicht tot ruimte maken. [Mode 5]


Mode 3 Use closeness
Closeness allows for the intimacy of relationships to be transformed into art works. Closeness, however, does not always need to be about physical bodies but can also be understood as close relationships between people, objects, or spaces in school that hold the potential to elicit an artwork. Closeness does not always have to do with proximity or size. Sometimes closeness is driven by attitude and/or intention.

Mode 5 Embrace invisibility.
The teacher who works as a conceptual artist frequently thinks and acts through dematerialized, time-based, and relational modes. As a result, some works will never be materialized, documented or recognized as such by others. Or, as Lucero (2016, p. 193/194) notes: “dematerialized, conceptual gestures can sometimes be completely undetectable”. Some works might thus only exist in a teacher’s mind, fade away into memory, time, or material.


School as Material

Modes of operation for teachers as conceptual artistsMelissa Bremmer and Emiel Heijnen (AHK) Jorge Lucero (University of Illinois at Urbana-Champaign)