Intimate to and transcendent of transient time qua the seen and drawn in the present: an email to a painter/academic and his reaction

Mike Croft

Exposition

Intimate to and transcendent of transient time qua the seen and drawn in the present: an email to a painter/academic and his reaction (2023)

Mike Croft, derek pigrum

open exposition

About this exposition

The idea of the exposition was triggered by an email exchange between artists Mike Croft and Derek Pigrum on 30th November 2022. The two artists have for more than a year been maintaining an email correspondence on matters of mutual interest concerning their visual practice and theoretical explorations. On this occasion Croft had read something by the psychoanalyst Jacques Lacan on the automaton, the latter of which he knew to be of great interest to Pigrum, the email to Pigrum of which opens the exposition. The resulting email response from Pigrum has as its point of focus a visit he had made the day before to the KHM (Kunsthistorisches Museum) in his home city, Vienna, where what he terms ‘the automation of contingency that generates repetition’ was as usual in operation. The references Pigrum made in the email to his own artistic work and existing works of art and cultural and historical artefacts suggested his text might be divided and illustrated, the resulting format of which is the present exposition. Several additional responses to the email exchange’s content ensued, termed interventions in the exposition, leading to a closing email exchange dated 11th December 2022. A third email exchange between 13th and 14th December has resulted in a Postscript section. Croft’s contribution pivots, he suggests, around Lacan’s coined term ab-sense, very approximately interpreted to mean absence of meaning between patterns or continuum – in the linguistic context signifiers –that are nonetheless not reducible to mere nonsense. The running through, as it were, of contingency in Pigrum’s practice – which he points out is not his only interest and prompts a need to show the broader picture, as it were, a pivotal influence for him being Aby Warburg’s Atlas Mnemosyne – may be considered informed by sense more so than meaning. The exposition is an example of how an ongoing correspondence can be an important aspect of each artist’s practice.

type	research exposition
keywords	drawing, correspondance, automaton, contingency, repetition, charged image, sorting
date	10/12/2022
published	06/03/2023
last modified	06/03/2023
status	published
share status	private
affiliation	i2ADS - Research Institute in Design and Society
copyright	Michael Croft
license	CC BY-NC-ND
language	British English
url	https://www.researchcatalogue.net/view/1857065/1857066
doi	https://doi.org/10.22501/i2ads.1857065
published in	i2ADS - Research Institute in Art, Design and Society
portal issue	0. Art, Design & Society

Copyrights

name	1.1 Panel 55 Aby Warburg_s Atlas Mnemosyne
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	1.2 own panel in the studio
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	2.1 Painting of The Golden Stag
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	2.2 Imago
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	2.3 Painting of The Navigator
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	3.1 Drawing of hands from medieval painting from Notebook 76. 2022 series II
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	3.2 Photo of 17th century Automaton
copyright	Michael Croft
license	CC BY-NC-ND
usages	picture

name	3.3 Painting Automaton
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	3.4 Drawing of Fury I after ivory by master of the Furies.
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	3.5 Drawing of Fury II after ivory by the Master of the Furies
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	3.6 painting Mnemosyne-i
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	4.1 Notebook drawing of Easel and curtain
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	4.2 Paintings of the Curtain and the Gates 2022
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	5.1 Frieze Drawing in notebook
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	6.1 Drawing of a Neolithic Pot
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	6.2 Painting of Death of Samson
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	7.1 Drawing of a detail of the Annointment of David after Veronese
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	7.2 Nymph and Shepherd drawing after Titian jpg
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	7.3 Drawing of detail of Ruben_s Festival of Venus
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	7.4 Drawing of Tango Dancers
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	7.5 Drawing_collage Dancers
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	Das Gegenwerk
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	Fist drawing
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	Sinthome
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	Fury
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	Hesperides I
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

name	Hesperides II
copyright	Derek Pigrum
license	CC BY-NC-ND
usages	picture

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Intimate to and transcendent of transient time qua the seen and drawn in the present: an email to a painter/academic and his reaction (2023)

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