The book “Chaos, Territory, Art” delves into the ontology of art, exploring its material and conceptual structures. According to Gilles Deleuze, art doesn’t create concepts but rather responds to issues and provocations, creating feelings, affects, and intensities that correlate with and link to ideas. The book’s opening contemplates the notion of chaos and how its forces can be distinguished, leading to the creation of the universe, art, and living. Sensation is a concept that exists in the relationship between the subject and the universe before any understanding, perception, or intellect, and where these elements are in constant flux.
“Art can create sensations from chaos, and through the entwined relationship between body and universe, entwined in mutual concavity/convexity, floating/falling, folding/unfolding are directly touched by that out- side now enframed, creating sensation from their coming together.”
Grosz explores the relationship between chaos and territory as it relates to the production and reception of art. She draws on the philosophical concepts of Gilles Deleuze to develop her ideas about the relationship between art and the environment. For Grosz, “chaos” refers to the dynamic and unpredictable nature of the world around us. She argues that the environment is constantly changing and that it is shaped by a variety of forces, including geological, biological, and cultural factors. In this sense, chaos represents the non-linear, non-hierarchical, and open-ended nature of the world.
In contrast, “territory” refers to the ways in which we impose order and structure on the chaos of the environment. Territory is the process of creating boundaries, defining spaces, and organizing the world around us. According to Grosz, territory is a way of making sense of the chaos of the environment, and of creating a sense of stability and order. In this context, a “place” is a specific location or environment that has been territorially defined. A place can be a physical location, such as a city or a natural landscape, or it can be a social or cultural space, such as a community or a tradition. According to Grosz, a place is not simply a passive backdrop for artistic production and reception, but rather an active and dynamic force that shapes the way we think about and engage with art. Overall, Grosz’s work on chaos, territory, and art emphasizes the importance of understanding the ways in which the environment shapes artistic production and reception, and of recognizing the dynamic and complex relationship between art and the world around us.
In the case of our project, we are working out how can we show the spectators the chaos of the world we are living in? How the places we inhabit change by the very own nature of the world, and by our own interaction with it in a non-linear way. How the steps passing thru time keep changing, evolving the environment they are surrounded and are part of, and the way they are keeping up with the changes of the city and the people who pass thru time and space. We want to create a representation of this, the chaos of the world, and the transformation it has over time and space. In our exhibition, the digital animations of the scans will be representing this evolution of the new stairs, while at the same time will be showing a new unexplored dimension.
Daniela, ChatGPT Feb 13 Version
References
Grosz, E.A. (2008). Chaos, territory, art : Deleuze and the framing of the earth. New York, Ny: Columbia University Press, Cop.
