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297 x 210
published | Arthur R. Rose | edition 500 | pbk. pp52 | A4 |1999/ 2000
launched | 6.10.1999 | Firestation Gallery | Dublin | 14.11.1999 | Arthur R. Rose | London
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Sean Ashton |
At one time or another almost everything passes through a sheet of paper. The page- 297 x 210, A4, white, nothing, possibly ruled with a margin, is the chance support upon which ideas come to be inscribed.
Arthur R. Rose invited twenty one artists to consider something that is already thought to death. 297 x 210 is structured around our familiarity with set quotidian dimensions which allow the publication to be read or browsed in the 'meantime'. The artists' contributions offer a conscious piece of work that would operate within the given structure or perhaps the more marginal thoughts that may surround the work. The book may appear as a distraction from the object in an attempt to promote discussion and produce something more solvent. This distraction is renewed through the foregrounding of proposal (Murray), meticulous transcription (Titchner), instruction (Price) and documentation of inadequate responses (Warmington) or unfeasible objectives (Brennan).
Page one begins with the alphabet. Janice Kerbel's 'Underwood' font is self-generated using the Underwood typewriter, from crime novels, as a model. The letter 's' is raised above the baseline. Rather than acting as a clue leading to one culprit it is now a postscript font that is untraceable in terms of origin. The font operates in terms of a red herring that leads us nowhere. Graham Gussin also structures his page with this sense of erasure. 'Prepared blank: Design for letterhead' is a graphic logo for a fictional company called Nothing & Nowhere. Stuart Taylor occupies the foot of the page. His intervention within the page set-up is found in his erroneous page numbering. The internal logic of this approach is echoed later in the book with David Blamey's 'Punch'. Part of the work inhabits the gutter as the familiar residue of two punched holes remain on the page. There is a real sense that notions of work have been abandoned as superfluous to the designated task ahead.
297 x 210 includes work that has the rigour associated with a conceptual model, but has been overlaid with melancholy (Price) or cross-referenced with popular culture (Warmington). Elizabeth Price's instructive page 'Ten Folds' is a set of instructions that lead to the production of a crashed paper aeroplane. The first seven folds form a generic representation of a plane. The next three folds give the plane the appearance of having crashed. The two separate sets of folds are made via the identical process. The language used to construct the plane is the same that causes its destruction. The presentation of instructions offers us the ability to recreate the work in our own time. In Ian Whittlesea's 'The light from Katrine Herian's studio', the work exists as a light meter reading taken in the artist's studio at a specific time- 12.00hrs 29th July 1999. Authenticated by the signature of Ian Whittlesea and Katrine Herian the work for 297 x 210 subsists as the potential to recreate the conditions recorded.
If a list of instructions aid our journey from A>B then Alan Murray proposes an investigation of the grey areas along this journey. The nature of instruction and more broadly rules and regulations are examined for discrepancies. Murray, for a number of years, has concerned himself with the act of correction. his work is involved in perfecting the grammar, diagrams and general use of instruction manuals for household appliances. The language of instruction is scrutinised, amendments made, corrections republished and re-circulated through Murray's proposals to the manufacturers. His contribution for 297 x 210 shows the starting point for a project in which he examines the subjective decisions found within the laws of games. |
| David Blamey |
| Tim Brennan |
| Matthew Crawley |
| Clare Gasson |
| Andrew Grassie |
| Graham Gussin |
| Matthew Higgs |
| Janice Kerbel |
| Doris Kroth |
| Jaspar Joseph Lester |
| Jeremy Millar |
| Alan Murray |
| David Musgrave |
| Elizabeth Price |
| Karin Ruggaber |
| Stuart Taylor |
| Matthew Thompson |
| Mark Titchner |
| Christopher Warmington |
| Ian Whittlesea |
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temporarysite.org | 2001 | 297 x 210 |
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