A Form of History, 2011
1, 2, A FORM OF HISTORY / EUROPE 1861 2011_1, 2012, animation HD, silent, 09’ 32” [exctract]
A Form of History traces the history of the European countries as a function of their territorial evolution in 150 years. The focus is placed on the complex reconfigurations of Europe’s physiognomy between 1861 and 2011, studying the evolution of the territorial expansion of the member States including colonies, on which an analytical strategy of re-mapping is applied. This evolution has been translated into graphics, according to the variables of time and space, and eventually transformed into aluminum sculptures and digital three-dimensional shapes.
Sources: historical atlas and Wikipedia updated to 2011.
A Form of History, 2011
1, A Form of History / Markgraf (D) [detail]
2, A Form of History / Markgraf (D)
3, A Form of History / Marchese (IT)
4, A Form of History / Markgraf, Marquis, Marchese (CH)
5, A Form of History / Markies, Marquis (NL)
6, A Form of History / Marquis (L)
7, A Form of History / Marques (P)
8, A Form of History / Marques (P) [detail]
9, A Form of History / Markíz (SK)
10, A Form of History / маркиз (MNE)
11, A Form of History / Marques (E)
12, A Form of History / маркиз, markiz (BiH)
13, A Form of History / маркіз (UA)
14, A Form of History / Markgraaf, Marquis, Markgraf (B)
15, A Form of History / Markez (AL)
16, A Form of History / маркиз, markiz, marchiz, markíz, márki, markez (SRB)
17, A Form of History / Markis (DK)
18, A Form of History / маркиз (RUS) 1:2
19, A Form of History / Marquis (GB) 1:2
C-print mounted on aluminium, 110 x 90 cm; 82,5 x 67,5 x cm; 41 x 350 cm
In the prints, to the territorial reconfiguration of the countries of the European continent registered between 1861 and 2011, the shades of grey are related to the colours present in the flags of each country over time.
A Form of History, 2011
1, 2, 3, 4, 5, A Form of History, aluminium, various sizes,The Uncanny Valley, FuturDome, Milan, IT, 2019. Ph: Cosimo Filippini
6, A Form of History, aluminium, various sizes, Panorama4, Forte Basso, Fortezza (BZ) (IT), 2012. Ph: Jan Kliewer
7, Markgraf II (A) / A Form of History, detail, A Form of History, A+B gallery, Brescia, IT, 2011. Ph: Mauro Prandelli
8, 9, 10, 11, 12, 13, 14, 15, 16, A Form of History, Alert studio, Bucharest (RO) 2013. Ph: Catalin Burcea
Silvia Hell: forms of history and cartographical writings, Simone Frangi, 2012
Austria, 1938: the annexation to the Third Reich and the loss of its sovereignty. The drop to ground zero and the loss of territorial solidity. Austria, 1955: the recapture of the political autonomy and of the nationalisation.
This is the reading grid of the “caesura” to be found in Markgraf II (A), one of the first sculptural volumes that took shape in the project A Form of History, where Silvia Hell traces the history of the European countries as a function of their territorial evolution in the last 150 years.
Space and time, two variables channelled in a choice of conventions, inaugural moment of any measurement strategy. This original form of history creates an exercise in codification and visualization that moves between two focal points: shape and volume.
Hell’s focus is placed on the complex reconfigurations of Europe’s physiognomy between 1861 and 2011, on which a coldly analytical strategy of political re-mapping is applied. Through the clarity and simplicity of visual intuition, this channels a spectrum of multidimensional values in a single aesthetical shape, obtained through a progressive evolution to a pure volume. First a chart, then a digital print, to end with a sculpture.
At the hearth of the operation, a normalising and arbitrary translation system, which becomes precise parameter of scaling and proportion. The ambition of A Form of History is to stabilise an alternative geographical and historical model, trustworthy and, especially, functional. Instead of crushing the validity of the metrics which regulate the historical atlases, Hell’s visual style tries to partially rectify their semiotic configuration, imagining a co-presence or a parallel flowing of these two systems, which are heterogeneous and non-commensurable.
Moving between exactness and approximation, Silvia Hell re-modulates from the inside the idea of territory, using as a kernel an arbitrary statement that, following an induced methodology, becomes rule. The resulting cartographic writing helps rethinking the correspondence between geographical metamorphoses and historical transients “using other terms”; the objective is to create a model applicable to all European countries, including the countries of the ex-soviet bloc, for which the identification of the variable values is more controversial.
In a comprehensive overview it seems that, from Hell’s expositional configuration, we can see emerge the deepest meaning of the constructional system theorized by Nelson Goodman. In this theory, every system is not only a way to see the world, but even (and mostly) a way of making it, of building it, showing the practices and the strategies which have slowly composed it.
A Form of History, Alert Studio, Bucharest (RO).
Theatre of Measurement, curated by Post Brothers, Kunstverein München, München (DE).