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Martin, Trevor (US)

Authot of Negotiated Terrain, chapter V of Borders. CarianaCarianne, Borders, crox-book Nr 3 (2006), p.51-75.
The essay opens with two quotes: 'For life and death are one, even as the river ans sea are one. Kahlil Gibran' and 'The real voyage of discovery consists not in seeking new landscapes, but in having new eyes. Marcel Proust'.

'I first encountered CarianaCarianne's work in 2003 when the artists were enrolled in the MFA program at the School of the Art Institute of Chicago. It was critique week, a time in which most classes are suspended and teams of faculty meet with graduate students to give formal assessment. I joined four other faculty members to review CarianaCarianne's work in a bright studio one afternoon that spring.
During the critique, I remember reading a brief artists' statement and viewing several video projects on portable monitors - multiple works that displayed parallel images of durational activity, parallel images of CarianaCarianne exchanging gestures, activating their shared skin in repeated caress, giving and receiving touch.' (...)

Bladzijde 65-69: 'In the 2004 project 'Borders: What prevents you today?' at Croxhapox, the artists embedded themselves in extended activity within the site over the course of 24 days. CarianaCarianne's intersections with the space redefined the gallery through a meditation on their own relationship not only with the psyhical edifice and the surrounding lands but also with each other. It is, in some sense, a work of geography - the science of earthly surface, continents and countries, the study of world and the diversions of terrain in tectonic flux. They spent time charting, mapping, making illustrative diagrams that define earth and sea, diagrams that waver in their substance. Made of paper, tape, fabric, found news clippings, and spare remnants, the work playfully defies, invites, speaks of process, construction and repair. The tape and paper lines echo the architecture of the building - the corners where walls meet floor, where plaster cracks, where the edge of glass is captured by window frame.(1) These are the intersections, the borders, the points of joining. They resonate with and against both that which pre-exists within the site and that which is applied. Each mark and added element amends not only the previous element but also itself. It is an accumulative but also reductive and speculative action that is displaced across a material surface. The summation of the mark and element displaces/retraces itself, in the refracting equation, to search for the larger and resonate whole. Yet again, each requires the other in order to signify and sustain itself beyond itself.
The resulting environment illustrates autobiographical relationships with the time of the space, with the time spent within and contemplating the space - a rarified moment of encounter, a kind of situational and ephemeral history. The assembled site and the act of assembling imply a process of discovering unpredicted connections between elements. This system of chance connection or juxtaposition allows the viewer/interpreter to create the mental leaps between meaning, to participate as creators within the interpretation, to find substance/significance within that which is suddenly not static, not fixed.' [original in English, note of the translator]

(1) Martin Trevor, who wasn't in croxhapox during 'Borders...', neither later on, he uses for his essay the massive amount of images CarianaCarianne and Marc Coene made of the contextual installation-performance, adding window panes and a window frame. The crox-location in Lucas Munichstraat hasn't any.

see also: Lawrence