Homework

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My interest in the physical rooms in which I live and work is part of my search for the being that inhabits and makes itself at home in them. From a bird’s eye view the traces of this existence, as in forensic analysis at the site of a crime, form the foundation for a criminal profile and become a self-portrait. A move to a bigger room occasions another change of perspective and the investigation of a further space. (...) <br/>
My interest in the physical rooms in which I live and work is part of my search for the being that inhabits and makes itself at home in them. From a bird’s eye view the traces of this existence, as in forensic analysis at the site of a crime, form the foundation for a criminal profile and become a self-portrait. A move to a bigger room occasions another change of perspective and the investigation of a further space. (...) <br/>
One drawing comprises a book title — Every Day Holodeck — as a detail. Other sheets show parts of corpses, as in a Tibetan air burial, that lie matter-of-factly among the furniture, an allusion to “settling down” or just “being at home” being a perpetually fragile state and never more than transient. Not even by ordering and designing space according to feng shui doctrines can this instability be transcended. Field of vision drawings reveal nothing about the subject peering through the eye sockets. Even when all the clues have been followed up, the case is not closed. But as it is found in another picture’s bathroom mirror, scrawled in the slime letterpress of the 1960s B movie of the same title: “Whatever it is, it’s alive!”" <br/>(Patrick Rieve on ''Homework'', from the catalog ''Um-kehrungen'', Braunschweig, 2007) </blockquote>
One drawing comprises a book title — Every Day Holodeck — as a detail. Other sheets show parts of corpses, as in a Tibetan air burial, that lie matter-of-factly among the furniture, an allusion to “settling down” or just “being at home” being a perpetually fragile state and never more than transient. Not even by ordering and designing space according to feng shui doctrines can this instability be transcended. Field of vision drawings reveal nothing about the subject peering through the eye sockets. Even when all the clues have been followed up, the case is not closed. But as it is found in another picture’s bathroom mirror, scrawled in the slime letterpress of the 1960s B movie of the same title: “Whatever it is, it’s alive!”" <br/>(Patrick Rieve on ''Homework'', from the catalog ''Um-kehrungen'', Braunschweig, 2007) </blockquote>
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Related articles: [[Justice Traps the Guilty]] and [[Ace of Space]].
[[Category:Zine]]
[[Category:Zine]]

Revision as of 18:18, 11 May 2013

Homework 2006
Homework
2006

Homework (No.1) is a publication by Patrick Rieve and was released in June/July 2006.

Subject matter of the publication is a series of drawings by Patrick Rieve with the same title.

"The intention behind my Homework, a series of drawings and collages in which I record and analyse my habitat from different points of view, is to dismantle in this manner the house in which I live with friends. I make use of architectural drawings, isometric explosion drawings, and echoes of comic strip artists (such as Chris Ware and Charles Burns) to gain insights and overviews and to approximate the idea of a comprehensive perception of space.
Ground plans and elevations including the entire furnishings, collage-like compilations of textual components from various contexts, the copied cover of a locked room mystery, vanitas motifs, and feng shui applications are multiply extended — by means of allusively formulated, sleuth-like questionings — towards locating my own position within these contexts, or towards sketching my personal search for that location.
My interest in the physical rooms in which I live and work is part of my search for the being that inhabits and makes itself at home in them. From a bird’s eye view the traces of this existence, as in forensic analysis at the site of a crime, form the foundation for a criminal profile and become a self-portrait. A move to a bigger room occasions another change of perspective and the investigation of a further space. (...)
One drawing comprises a book title — Every Day Holodeck — as a detail. Other sheets show parts of corpses, as in a Tibetan air burial, that lie matter-of-factly among the furniture, an allusion to “settling down” or just “being at home” being a perpetually fragile state and never more than transient. Not even by ordering and designing space according to feng shui doctrines can this instability be transcended. Field of vision drawings reveal nothing about the subject peering through the eye sockets. Even when all the clues have been followed up, the case is not closed. But as it is found in another picture’s bathroom mirror, scrawled in the slime letterpress of the 1960s B movie of the same title: “Whatever it is, it’s alive!”"
(Patrick Rieve on Homework, from the catalog Um-kehrungen, Braunschweig, 2007)

Related articles: Justice Traps the Guilty and Ace of Space.

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