Corrections

In the September 2000 issue the end of the arti-
cle ‘Art Without Meaning: A discussion on the
possibility,’ with Jim Stamper and Corinna
vanGerwen, was cut off. What follows is the
remainder of that interview. Our apologies to
Jim Stamper and Corinna vanGerwen.

C: So What are some of the things people would argue
with you about? What did you ask them and how did
they react?

J: ... | asked them to look at it and not read meaning
into it. And some of them got actually quite upset.
Because they [thought] | didn’t have the right to tell
people how to view my work. And | think any creator
anywhere ...But it's not so hard to take when people
ask you to view this from a humanitarian point of view.
.. So for me to ask somebody - to say don’t read any-
thing into my work, is [of] no less value [than] to ask
them to read whatever else | tell them. ...Bring nothing
to it and don't apply anything on it. Don't make any-
thing out of it that isnit already there. It's just what it
is. It's concrete, and it's wood, and it's nothing. [It is] a
political stand against giving it extra meaning, but
that's outside the environment. It would be - the
whole thing of nothingness may well be contained
inside a small moment. It's too loose to try and grasp,
to be able to walk away and carry forever. Itis like a
moment, maybe not even a moment. And it [is] like
looking at a flower and ... just that first glimpse, when
you just look at it, and that spark, it’s just like nothing.
You haven't identified what flower it is, you haven't
identified what colour, you just decided that you liked
it at that moment, that little glimpse. | was giving them
something a little more quiet that wasn’t so - it was
very dominant becuse it’s bigger than everybody, but
[there] was nothing there for people to feed off of. It
was just aesthetically appealing. And they were having
a hard time with it. And | was too.

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space revisited

october 21 - 27 opening reception friday, october 20 7-11pm

water street studio 155 water st.
upstairs above hill’s canadian crafts

C: Well because a part of that is because [part of
being] human is that how you recognize things, how
you think, how you react to things, how you act
towards things, how you confront things, [these] are
all based on past experiences. [When] you come up to
something new you're reaction is fear because you
haven't experienced it before. But you combine your
experiences and you go o.k. it's kind of like [these
experiences so] I'm going to react this way. And you're
not doing this consciously but basically every single
thing we do is based on our experience. | know how to
open a car door because at some time in the past,
when | was young, | learned that a car door opens this
way.

604 833 7570

sorry, not wheelchair accessible

J: Yeah, exactly.

C: So to approach something and try and drop all that
information that you've been built up with, drop all the
stuff that you know.

J: Oh yeah, | never said it was easy. It's not easy to
even try and grasp it.

C: Well a lot of people would sat that it’s impossible.
J: Well, yeah. | might agree with them. But...
C: But all you're doing is asking them to try?

J: Try. It's an exercise.

ARCHITECTURAL EUGENICS

The infectious desire for high design is alarming. |t signifies the malignant exchange of reality for purity. It parallels
the intolerance toward the underclass that unce was the basis for involuntary sterilization in America. The effort to
cleanse our culture of the commonplace resonates with the horrors of the twentieth century. Today, forces exerted
by the profession, the media, and the academy operate to identify the ordinary as undesirable. The campaign
against ineloquent buildings as an effort to C better architecture is an act of wholesale structural gentrification.

PRACTITIONERS E

UCATORS STUD!

ENTS

WHICH SIDE ARE YOU ON?

by Alex Terzich

inflammatory number one

Corrections

In the September 2000 issue the end of the arti-
cle ‘Art Without Meaning: A discussion on the
possibility,’ with Jim Stamper and Corinna
vanGerwen, was cut off. What follows is the
remainder of that interview. Our apologies to
Jim Stamper and Corinna vanGerwen.

C: So What are some of the things people would argue
with you about? What did you ask them and how did
they react?

J: .. L asked them to look at it and not read meaning
into it. And some of them got actually quite upset
Because they [thought] I didn’t have the right to tell
people how to view my work. And | think any creator
anywhere ...But it's not so hard to take when people
ask you to view this from a humanitarian point of view.

So for me to ask somebody - to say don't read any-
thing into my work, is fof] no less value [than] to ask
them to read whatever else | tell them. ..Bring nothing
toit and don’t apply anything on it. Don't make any-
thing out of it that isnit already there. It's just what it
is. It’s concrete, and it’s wood, and it’s nothing. (It is] a
political stand against giving it extra meaning, but
that’s outside the environment. It would be - the
whole thing of nothingness may well be contained
inside a small moment. It’s too loose to try and grasp,
to be able to walk away and carry forever. Itis ike a
moment, maybe not even a moment. And it (is) like
looking at a flower and ... just that frst glimpse, when
you just look at it, and that spark, it’s just like nothing,
You haven't identified what flower itis, you haven't
identified what colour, you just decided that you liked
it at that moment, that little glimpse. | was giving them
something a little more quiet that wasn't so - it was
very dominant becuse it’s bigger than everybody, but
{there] was nothing there for people to feed off of. It
was just aesthetically appealing. And they were having
a hard time with it. And I was too.

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space revisited

october 21 - 27 opening reception friday, october 20. 7-11pm

water street studio 155 water st
upstairs above hills canadian crafts

C: Well because a part of that is because [part of
being] human is that how you recognize things, how
you think, how you react to things, how you act
towards things, how you confront things, {these] are
all based on past experiences. [When] you come up to
something new you're reaction is fear because you
haven't experienced it before. But you combine your
experiences and you go o.k. it's kind of like {these
experiences so] I'm going to react this way. And you're
not doing this consciously but basically every single
thing we do is based on our experience. | know how to
‘open a car door because at some time in the past,
when | was young, | learned that a car door opens this
way.

604 833 7570

sorry, not wheelchair accessible

J: Yeah, exactly

C: So to approach something and try and drop all that
information that you've been built up with, drop all the
stuff that you know.

J: Oh yeah, | never said it was easy. It's not easy to
even try and grasp it.

C: Well a lot of people would sat that it’s impossible.
J: Well, yeah. | might agree with them. But.
: But all you're doing is asking them to try?

J: Try. It’s an exercise.

ARCHITECTURAL EUGENICS

The infectious desire for high design is alarming. It signifies the malignant exchange of reality for purity. It parallels
the intolerance toward the underclass that once was the basis for involuntary sterilization in America. The effort to
cleanse our culture of the commonplace resonates with the horrors of the twentieth century. Today, forces exerted
by the profession, the media, and the academy operate to identify the ordinary as undesirable. The campaign
against ineloquent buildings as an effort to breed better architecture is an act of wholesale structural gentrification.

PRACTITIONERS EDUCATORS STUDENTS
WHICH SIDE ARE YOU ON?

by Alex Terzich

Inflammatory number one