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This paper examines whether the form of the Teleorama or paper peep show can be used to generate new ways of making and exhibiting drawings of contemporary sites of ruination. The Teleorama will be used as a physical and conceptual vehicle for testing out a diverse range of investigations relating to form and content in drawing practice. Within my practice, paper ruins, inspired by Teleoramas, are constructed and used as maquettes from which to make two-dimensional drawings that are retranslated into large-scale, three-dimensional installations. Through the process of (re) construction, the research will develop an understanding of the Teleorama as a partially imagined, partially ‘real’ space that can transport the viewer conceptually from one place to another. I use the Picturesque, as a spatial and perceptual theory relating to painting and garden design, to explore how the Teleorama can be conceptualised as both a series of drawings on two-dimensional planes and a three-dimensional space, focusing on the fundamental ideas of ‘absorption’ and ‘theatricality’ as expounded by Michael Fried (1980), and ‘immersion’ as expounded by Arnold Berleant (2004). By identifying aspects of the Teleorama that cannot be compared to either paintings or gardens as spaces, I foreground its unique ability to represent the apparent collapse of space and time in a material form and enable an oscillation between two- and three-dimensional design and construction. By focusing on how space is created and experienced within selected contemporary installation practices, I aim to position my practice within the broader discursive fi eld of installation, distinguishing their use of space from my use of the Teleorama to create immersive drawn environments reinterpret ruin sites in gallery settings. Through interrogating and reconfiguring the historical form of the Teleorama, I aim to propose new models of installation practice within the field of contemporary drawing.
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This article is restricted. You can purchase access to the individual article. You may prefer to purchase the entire book as well to have access to all the articles within the Conference Proceedings.
REFERENCES
Ayala-Alfonso, D. (2020). Material Metabolisms / Metabolismos Materiales. Mauro Giaconi: Temporada De Plomo / Lead Season.
Bishop, C. (2005). Installation Art, a Critical History. 1st ed. London: Tate Publishing.
Carlson, A., & Berleant, A. (2004). The Aesthetics of Natural Environments. Peterborough, Ont: Broadview Press.
Charlesworth, M. (2013). Theories of the Picturesque. In D. Arnold & P. Corbett (Eds.), A Companion to British Art. Chichester: Blackwell Publishing (pp.351-372).
Disponzio, J. (2003). Introduction. In J.D. Hunt (Ed.), Claude-Henri Watelet, Essay on Gardens: a chapter in the French Picturesque [Essai sur les jardins (1774)]. Philadelphia: University of Pennsylvania Press, 2003 (pp.1-16).
Edensor, T. (2005). Industrial Ruins. Oxford [UK]: Berg.
Edensor, T. (2002). Haunting in the ruins: matter and immateriality. Space and Culture, 11, pp. 42-52. Fried, M. (1980). Absorption and theatricality. Chicago: Univ. of Chicago Press.
Hess, S. & Tallmadge, J. (2012). William Wordsworth and the Ecology of Authorship. Charlottesville: University of Virginia Press.
Hunt, J.D. (1981). Picturesque Mirrors and Ruins of the Past. Art History, Vol. 4 No.3, September 1981, pp.254-270
Hyde R. and Gestetner. J. (2015). Paper Peepshows. The Antique Collector’s Club. Oettermann, S. (1997). The Panorama. New York: Zone Books.
Oliveira, N., Petry, M. and Oxley, N. (2003). Installation Art In The New Millennium. London: Thames & Hudson.
Sachar, E. (2015). An Exploration of Key Ideas in Absorption and Theatricality: Painting and Beholder in the Age of Diderot by Michael Fried (MA). Hunter.
Van oostveldt, B. (2010). Ut pictura hortus/ut theatrum hortus: Theatricality and French Picturesque Garden Theory (1771-95). Art History, April 2010, pp. 364-377
WEB REFERENCES
[1] https://collections.vam.ac.uk/item/O1362046/teleorama-no-1-paper-peepshow-muller- heinrich-friedrich/teleorama-no-1-paper-peepshow-m%C3%BCller-heinrich-friedrich/ (Last Access: 19.04.2022)
[2] https://www.dff.film/en/akquisition-of-the-werner-nekes-collection/ (Last Access: 19.04.2022)
[3] https://www.nationalgalleries.org/art-and-artists/5243/0?overlay=download (Last Access: 19.04.22)
[4] http://arroniz-arte.com/es/mauro-giaconi-temporada-de-plomo/ (Last Access: 26.01.2021)
[5] http://www.noirmontartproduction.com/en/projets/eva-jospin-2/(Last Access: 21.01.2021)
[6] https://www.kevorkmourad.com/seeing-through-babel-2019/ (Last Access: 26.01.2021)
[7] https://www.studiointernational.com/index.php/kevork-mourad-the-making-of-seeing- through-babel-video-interview (Last Access: 21.01.2021)
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Deniz Bol is the Administrative Assistant at SPACE Studies, where she supports the day-to-day operations and contributes to the smooth functioning of the organization. Alongside her administrative role, Deniz is an artist with a passion for creative expression. She is currently pursuing her studies at the University of the Arts London (UAL), where she continues to develop her artistic practice. Her organizational skills, paired with her artistic background, make her a valuable asset to the SPACE Studies team, helping bridge the worlds of administration and creativity.
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Betul Uckan is an architect and dedicated academic with a background in both architectural practice and research. She holds a Master of Science in Architectural Design and a Bachelor’s degree in Architecture from Istanbul Technical University, where she cultivated her interests in architectural theory and design. Betul has gained experience as a research assistant in various universities, contributing to design studios and foundational courses. She has also worked in the field as an architect with projects focused on design, modeling, and construction, and has been involved in notable projects, including Maltepe Piazza and Emaar Square in Istanbul. With her expertise spanning both digital and material architecture, Betul brings a dynamic, interdisciplinary approach to her role as the Academic Programme Coordinator.
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Arghavan Pournaderi is a senior researcher in the field of architectural conservation and restoration, with an academic foundation in architecture and specialized expertise in historic sites and buildings. Completing her PhD at the Art University of Isfahan, Iran, in 2019, her research has contributed to the understanding of Iran’s architectural heritage, with a focus on Isfahan’s urban and architectural evolution during the Safavid period. In addition to her extensive research, Dr. Pournaderi has held academic positions at various institutions in Isfahan, teaching at both undergraduate and graduate levels. Her work extends beyond academia as she contributes to SPACE Studies as Senior Researcher & Managing Editor, where she oversees scholarly initiatives that foster deeper interdisciplinary dialogue in architecture and heritage conservation.
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Alison Hand is a Senior Researcher at SPACE Studies. She is a painter and writer with an MA in Painting from the Royal College of Art. Alison’s work focuses on creating absurd, unstable heterotopic spaces and dialogues with painting history. She is currently the Artist in Residence for King’s College London Philosophy Department on the Dreams and Wakeful Consciousness Research Project, exploring themes of time and simultaneity in new work. Alison has received numerous awards for her painting and is currently working with Bloomsbury Publishers on a major essay on Drawing in Contemporary Art. She is also the BA Fine Art Programme Leader at Art Academy London and co-director of Cement Arts. Her role at SPACE Studies involves leading research projects, mentoring junior researchers, and contributing to our artistic and academic initiatives.
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Julian Wild is a Senior Researcher at SPACE Studies and the Sculpture Program Leader at The Art Academy London. With over 30 years of experience in creating and exhibiting sculptures, Julian has worked with high-profile clients such as Cate Blanchett and the University of Oxford. A fellow and former vice president (2015-2019) of the Royal Society of Sculptors, his work has been featured at venues like Modern Art Oxford and Chatsworth House. At SPACE Studies, Julian leads research projects, mentors junior team members, and conducts workshops that blend art and urban studies. In his free time, he enjoys attending academic conferences and crafting new sculptures.
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Elif Suyuk Makakli (Associative Professor) earned her PhD in Architecture from the Vienna University of Technology, where she studied the impact of technology on architecture under Prof. William Alsop. With extensive experience in architectural practice in Istanbul and Vienna, she is now an Associate Professor at FMV Isik University, focusing on design education and technology. At SPACE Studies, Elif serves as both the Head of Publications and Senior Researcher, guiding scholarly content and contributing to research initiatives. She is dedicated to mentoring and fostering design innovation.
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Sanaz Shobeiri is an architect, urban designer, and landscape urbanist, currently a postdoctoral researcher in the Department of Planning at Queen’s University Belfast. Her research focuses on age-gender inclusiveness and the interplay of architectural, historical, political, and sociocultural dimensions in urban spaces, exemplified by her project on city centres in Belfast and Tehran. Sanaz holds a PhD in Urban Planning from the University of Tehran and has a robust portfolio in sustainability and urban theory. As Head of Research at SPACE Studies, she leads innovative research initiatives, fostering collaboration and academic excellence. In her free time, Sanaz enjoys exploring urban landscapes and supporting community development.
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