Grand Arts, Kansas City, MO
Spurse began by developing a series of research areas into sensing within forms of temporality. They include: (1) Building an emergent cosmology generator as a way to begin generating hypotheses (2) Investigating deep time of the site (Kansas) by doing paleontological research into the Western Interior Seaway that covered much of North America from 120 million years ago to 60 million years ago (3) Consulting with the Land Institute in Salina, Kansas on their research developing plants that reach back towards the early prairie and into the future conditions of climate (4) Working with Kansas City Art Institute students to develop prototypes for clothing as mobile architecture for migration/sensing time (5) Conducting Situated Visualization and Augmented Acoustic research with David Jensenius and Sean White at Columbia University (6) Exploring rapid climate change and cultural logics of time in Nunavut (7) Conducting archival research at the Linda Hall Library on histories of systems for sensing and conceptualizing temporality (8) Developing proprioceptive and multi-scalar wayfinding systems for the Cuyahoga River, Cleveland (9) Testing ways of listening to entangled systems as politics in Denver (10) Setting up the gallery space at Grand Arts as a laboratory/training ground for sensing new forms of temporality, and (11) Conducting ongoing research and workshops during the period of the exhibit.
Clothing/architecture workshop with the students of the Kansas City Art Institute
Clothing temporalities workshop with Erin Manning and Brian Massumi
How can we sense and touch the Great Inland Sea that blanketed the Midwestern United States 65 million years ago? Why does it feel so uncanny to find a seashell in a field? As the Arctic melts, could we be headed toward a redux of this vast inland waterway? If water levels continue to rise, where will human and animal populations be displaced to? Will we become permanent refugees or nomads? What models for nomadic sustenance, clothing and shelter on the move already exist? Could spurse’s temporary laboratory and training ground help us work through some of these problems? What objects and tools have been assembled in Grand Arts’ space, and what can be done with them? Moreover, what can they do to us? Is the object before you a table or a map? If you try to use it as a table, will it fall apart? Should you try anyway? There is work to be done. – Stacy Switzer, Grand Arts and spurse