Away From Home The curious domain of passage

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Notes

¹ In her essay ‘One Place After Another: Notes on Site-Specificity’, Miwon Kwon usefully charts the development of an understanding of site-specificity as a shift from ‘[t]he art object or event … experienced in the here-and-now through the bodily presence of each viewing subject’ to a model ‘that implicitly challenged the “innocence” of space’ with artists conceiving of the site ‘as a cultural framework defined by the institutions of art’ (2000: 38–40).

² When discussing her piece The Hotel, Calle observed that it took her ‘one year to find the hotel,… three months going through the text and writing it,… three months looking for the photos and… one day to decide it would be this size and be framed with such a frame… it’s the last thought in the process’ (in Searle 1993: 32). It seems that Calle is indicating that the gallery context, the showing of the work, is perhaps less significant than the construction. A similar observation could be made of the work of Dade and Hanney: it is in the execution that the ‘art’ happens, and what is left in the gallery is a trace.

³ Gussin became interested in the concept of the remote viewer after watching a television documentary (see interview Graham Gussin, the Eye series [video]).

⁴ The literal translation of Gussin’s Doppelganger from the German is double-walker. In this context then for us the Gussin-ganger is literally the Gussin Walker, Gussin’s deliberately constructed double, as opposed to the unexpected and unwelcome double of folklore.

⁵ Gussin has occupied the two-fold position of traveller and of artist.