Translocal, Transnational, and Hybrid Spatial Spaces

We (Francesca Ceola and Simone Rueß) designed a processual multimedia workshop to encounter, reflect upon, and upend questions on translocality, of transnationalism, and of hybrid cultural and space-oriented structures. Working actively with the workshop room using time-based, graphic, and performative languages, we aimed to ground broad, abstract concepts in graspable experiences. We first got into the atmosphere of thinking visually by watching and discussing Camilo Bravo Molano’s audio-visual work “Liquid Homes”: a film portrait mapping a displaced person’s experience in Portugal. The participants were then invited to share ideas and explore possibilities to translate and elaborate on the broad concepts of translocality, transnationalism, and hybrid spatialities. We used graphic prompts, language, and performative explorations to enhance this embodied analysis that we developed both individually, then collectively. The workshop closed with a lecture by Prof. Dr. Magdalena Nowicka through a self-reflection on spatialities of migrants and transnational affect. She put in words aspects and differences of transnational and translocal homes introduced to us through Bravo Molano’s film images in the beginning of the workshop.

More to read about on our blogpost @sfb1265

Facing Pairs and Changing Dialogue Partners: A Drawing-Exchange in Transition

The participants were sitting along tables, in a line, in the room. In the middle of the tables, a line of drawings was laid out: to stimulate sensorial reflections including division, connection, detachment, leaving behind, and new beginnings. The lines drawn on paper represented a visual simplification of complex relationships of translocality, transnationality or hybridity. They could be associated with borders, border crossings, border dissolutions, and separation. The drawing paper and pens handed out to each participant invited personal pictorial reproductions, transformations, or further developments of the graphic proposals. Participants in pairs exchanged about the graphics lying between them in one moment, only to be urged to abandon the conversation at the next, leaving their exchanges behind, and proceeding to the following dialogue partner. Engaging in couple-of-minutes increments  almost overwhelmed us with a threefold intensity: the sound of all engaged voices, the flow of ideas, and the frantic timing of conversation changes.

The series of drawings laid out on the tables to initiate and orient participants’ conversations were inspired by the artist Chiara Carrer’s book Pensar el espacio. Reflejos, superficies, y colores (transl. “Thinking the Space. Reflections, surfaces, and colors”). Some drawings are a direct re-interpretation of Chiara Carrer, while others were developed from the drawing research of Simone Rueß and her conversations on spatial imaginations with more than 30 interviewees from all over the world. (excerpt of the blogpost @sfb1265)

A Room with Borders, Barriers, and Open Forms: An Embodied Non-verbal Interaction

(...)

Participants were confronted with the challenge of having to leave their present position in the room to reach another point in the space, limited by the four structural walls but also some additional cardboard walls. Acting in their own space, participants initially imperceptibly created a common structure of changing distances in the room. Forms and shapes of paper left behind, foreign lines, and cut-outs found at the next position, they gradually triggered more conscious interactions with spatial traces of the others. One sequential letter after the other, local and migrated shapes formed fragile hybrid common figurations. (excerpt of the blogpost @sfb1265)

Islands of Creation and Synthesis: Individual and Collective Reflexion, drawings and ensembles by María Linares (1), anonymous participant (2), Ludovica Tomarchio (3), Workshop part 5, 2024.

Islands of Creation and Synthesis: Individual and Collective Reflections in a Shared Space

(...)

The rapid, time-framed and place-constrained interactions explored during the workshop can be observed and were intentionally initiated as cues for refiguration of spatial, social, psychological, and cognitive (as in how associations of ideas are enhanced) arrangements and constellations that tell us something around concepts of translocality, transnationality, and hybrid cultural space-oriented structures. The setup of a laboratory with sequential tasks and reflection allowed us to grasp the nature of these spatial structures both in an abstract and elementary way. Film, verbal exchange, figurative language, movement, drawing, symbols, performance, objects, language, and lecture. In diverse media and transdisciplinary reflections, we looked at these formats and terms from various sides, as if we deconstructed their characters into multifaceted multiple layers. Thinking towards expanding the edges of the refiguration theory vis-à-vis territorial structures, we engaged with the diffracted meanings of translocalization with a postnationalist critique to explore practices, memories, and meaning-making at multiple levels: socio-material, ecological-economic, and symbolic-transcendent. As a result, the drift of notions, shifts, and hybridization were not just a conceptual exercise but also a figurative and embodied one". (Conclusion in our blogpost @sfb1265)

Przestrzeń Działań Społecznych

In the workshop led by Simone Rueß, a collective map was created based on a performative exploration of urban space. The starting point were mental images of selected spaces of Katowice and performative and linguistic interactions with places such as the train station, the shopping center and the pedestrian zone.

The aim was to draw attention to the network of socio-spatial relationships in Katowice. According to Martina Löw's relational spatial concept, space is a constantly changing arrangement of people, other living beings, goods and architectural objects. This space is synthesized through the processes of
perception, imagination and memory.


Furthermore, Simone Rueß' concept for the workshop was based on Kevin Lynch's (1960) idea of the mental image of the city and Grzegorz Kowalski's theory and teaching of the “own/common space”. (Excerpt summary of the workshop at NIAiU, Warsaw)


In dem von Simone Rueß geleiteten Workshop wurde eine kollektive Karte auf Basis einer performativen Erforschung des städtischen Raums erstellt. Ausgangspunkt waren mentale Bilder ausgewählter Räume von Katowice und performative und sprachliche Interaktionen mit Orten wie dem Bahnhof, dem Einkaufszentrum und der Fußgängerzone. Ziel war es, die Aufmerksamkeit auf das Netz der sozialräumlichen Beziehungen in Katowice zu lenken. Nach Martina Löws relationalem Raumkonzept zufolge ist der Raum eine sich ständig verändernde Anordnung von Menschen, anderen Lebewesen, Waren und architektonischen Objekten. Dieser Raum wird durch die Prozesse der Wahrnehmung, der Vorstellung und der Erinnerung synthetisiert. Simone Rueß‘ Konzept für den Workshop stützte sich außerdem auch auf Kevin Lynchs (1960) Idee des mentalen Bildes der Stadt sowie auf Grzegorz Kowalskis Lehre vom „Eigenen/Gemeinsamen Raum“. (Ausschnitt Zusammenfassung des Workshops at NIAiU, Warschau: https://niaiu. pl/2024/05/przestrzen-dzialan-spolecznych-podsumowanie-warsztatow/)

Cityscape Nowa Huta



"Based on the insights I received during the conversations and narrative mappings of residents along my first tour through the city (Nowa Huta), I revisited and approached selected locations in greater detail (Lynch 1960, 15). I stood with my mobile table at six locations for a longer duration of time (approximately two to three hours), scanning the visual field and documenting the multiplicity of moments as layers of strokes and lines on a single sheet of paper (Figure 4). The live drawings were simultaneously filmed from above and later digitally sped up in videos and superimposed. Inverted to white on black, like an X-ray, the time-based images illuminate ‘a view of bodies seen through and beyond their skins’—that is, a view of environmental structures seen through their surfaces (Rueß 2023a, 89). Built on my artistic practice, I used the method of overlaying drawn movements into simultaneity to reveal the so-called movement space in relation to the architecture, environments, and their histories."

excerpt: Simone Rueß (2025). Performance Drawing: Uncovering Multiple Timescapes of Nowa Huta, In: Spacetimes Matter. A Collection of Mapping Methodologies. Baxter, Jamie-Scott / Heinrich, Anna Juliane / Marguin, Séverine / Sommer, Vivien (Eds.), Jovis: Berlin.

Os. Stalowe, excerpt of the installation 'city/sound/scape' by Simone Rueß and Rafał Mazur.


References:

Lynch, Kevin. 1960. The Image of the City. Cambridge: M.I.T. Press.
Rueß, Simone. 2023a. ‘Drawing and (Re)Acting: The Creation of Movement Spaces’. Drawing: Research, Theory, Practice 8 (1): pp. 81–94. https://doi.org/10.1386/drtp_00107_1.

city/sound/scape (Nowa Huta)

Nowa Huta is a unique testimony to urban and social 're-figuration' in today's Europe. Originally designed from the top down as an ideological, socialist, and urban planningproject, Nowa Huta has been undergoing an ongoing economic and social transformationsince 1989. The accompanying geographical changes and the progressive changesof Kraków have led to new residents, different everyday activities, and altered patternsof movement. The audiosphere is also undergoing a profound transformation, whichis linked, for example, to the closure of the industrial context. In an interdisciplinarydialog, Simone Rueß and Rafał Mazur bring together analyses of urban structures andsoundscapes in the form of a hybrid mapping. Residents are invited to actively participateand reflect on their neighbourhoods in the context of local and global upheavals. An audio-visual 5-channel installation makes the artistic investigations spatio-temporally experienceable.


Nowa Huta ist ein einzigartiges Zeugnis einer urbanen und sozialen 'Re-Figuration' im heutigen Europa. Ursprünglich von oben herab als ideologisches, sozialistisches und städtebauliches Gesamtprojekt angelegt, erfährt Nowa Huta seit 1989 eine andauernde wirtschaftliche und soziale Umgestaltung. Die damit einhergehenden geographischen Veränderungen und die fortschreitende Polarisierung der Nachbarschaft mit Krakau, führen zu neuen Bewohner*innen, anderen Alltagsaktivitäten und veränderten Fortbewegungsstrukturen. Auch die Audiosphäre befindet sich in einem tiefgreifenden Wandel, der zum Beispiel mit dem Aussterben des industriellen Kontextes zusammenhängt. In einem interdisziplinären Dialog führen Simone Rueß und Rafał Mazur Analysen von Stadt- und Klanglandschaften in Form eines hybrid mappings zusammen. Bewohner*innen werden zur aktiven Teilnahme eingeladen ihren Stadtteil im Spannungsgefüge lokaler und globaler Umbrüche zu reflektieren. Eine audio-visuelle 5-Kanal-Installation macht die künstlerischen Untersuchungen raumzeitlich erfahrbar.
Common Movement Space, excerpt of the installation 'city/sound/scape' by Simone Rueß and Rafał Mazur
Daily Routes, 2023, performative and participative research action, July 6 - July 11, 2023, table on wheels, 100 x 100 cm, black map, transparent papier, marker, action-camera.
Daily Routes, 2023, performative and participative research action, July 6 - July 11, 2023, Aleja Róz, Nowa Huta.




walk-in, 4.9.2020 (Warszawa – Berlin)

On the constructed 23-metre-long footbridge in the garden of Gallery Le Guern, visitors actively contribute to a connection across physical distance through their participation on 4 September 2021. Built from material from Warsaw and Berlin, the bridge is the starting point of the happening. The Varsavian artist Krzysztof Franaszek is present on site in the gallery garden, while Berlin artist Simone Rueß is present on the bridge digitally on a screen. Visitors can follow how the two artists meet again virtually, and they can also talk live with the Berlin artist. The installation invites visitors to share their current (border) experiences during the pandemic. The happening makes the transnational relationship tangible and evokes memories of territorially specific border cases. The action relates digital and physical proximity to each other. Differences in distances are experienced, spatial approaches are tested and digital and analogue presence are negotiated with each other. 

HALA

In 2011, Simone Rueß and Krzysztof Franaszek jointly created the video installation HALA (two projections 16:9, 6‘54“, on loop). It documented the dismantling of the KDT market hall which spanned a vast expanse at the very heart of Warsaw next to the Palace of Culture and Science from 1999 to 2009, which today marks the site of the contemporary art museum MSN. In their record of gradual destruction, the artists discovered that the demolishment involved the erection of temporary structures which were later taken down, as well. Their collaborative project de-re-konstrukt (2019-2021) that followed, as well addresses the arc of creation and destruction, which is part and parcel of the urban lifecycle.

W roku 2011 Simone Rueß i Krzysztof Franaszek wspólnie stworzyli wideoinstalację pt. HALA (dwie projekcje 16:9, 6'54", pętla). Dokumentowali wówczas etapy rozbiórki hal handlowych KDT, które w latach 1999-2009 zajmowały obszerną przestrzeń w samym centrum Warszawy przy Pałacu Kultury i Nauki. W tym miejscu powstal Muzeum Sztuki Nowoczesnej. W zapisie procesu stopniowego niszczenia artyści zwrócili uwagę, że na rozbiórkę składają się też etapy wznoszenia tymczasowych budowli, które kolejno także ulegają wyburzeniu. de-re-konstrukt również podąża za cyklem tworzenia i niszczenia, który jest nieodłącznym elementem życia miasta..
  Im Jahr 2011 schufen die Künstler*innen Simone Rueß und Krzysztof Franaszek gemeinsam die Videoinstallation HALA (zwei Projektionen 16:9, Dauer: 6'54", loop). Sie dokumentierten den Abriss der Markthalle KDT, welche von 1999 bis 2009 auf dem Plac Defilad vor dem Kulturpalast im Zentrum von Warschau stand. An diesem Ort entstand das Museum für Zeitgenössische Kunst. In den Videoaufnahmen hielten die Künstler*innen fest, wie während des allmählichen Abrisses für kurze Zeit temporäre neue Bauten und Objekte entstanden, die dann genauso sukzessive wieder abgerissen wurden. Auch ihr kollaboratives Folge-Projekt de-re-konstrukt (2019-2021) empfindet den Kreislauf von Konstruktion und Dekonstruktion nach – ein Prozess, der dem Leben einer Stadt innewohnt.

Zwischenraum (eng. Intermediate Space), 2011/12

Passers-by between the main railway station and Patelnia in Warsaw, Poland.

Patelnia, 2011/2012

Płocka (Movement Space)

The movement which takes place every day follows
the given spatial and architectural elements and
forms an additional invisible space within and in
relation to the architecture. This movement space
is shaped through an aggregation of moves over a
longer period and usually has soft, round edges, as
corners are generally avoided by people. After observing
and tracking the daily paths between rooms and
objects in the apartment in Płocka Street in Warsaw
Poland, I moulded the body of movements with its
soft round edges in silicone.


Alle Fortbewegungen und Handlungen über einen längeren Zeitraum zu einer Gleichzeitigkeit räumlich zusammengefasst, ergeben den Bewegungsraum innerhalb der Wohnungseinrichtung. Das Silikonobjekt ist eine abstrakte Annäherung an meinen Bewegungsraum in der Ulica Plocka der Jahre 2009-2011.
Movement Space (Płocka), 09.12.2011, pencil on paper, 42 x 29.7 cm
Płocka (Movement Space), 2012, Silicon, 9 x 27 x 50 cm
Płocka (Movement Space), 2012, Silicon, 9 x 27 x 50 cm

Kręgosłup, 2010

Sketch of the Movement Space inside the Palace of Culture and Science in Warsaw - the lifts:

In the middle of the Palace of Culture and Science in Warsaw, which marks the centre of the capital city, there is a system that shows similarities to the spinal column of the human body. In the midpoint of the palace tower are 12 elevator shafts in which people are transported daily to 43 floors. The work abstracts the space within the architecture of these elevators, a space which the people occupy and define over time through their usage of the moving lifts, getting in and out at the different floors. Dismembered in its seperate vertebrae, the spinal column is lying on the floor, as if an organ has been removed from the body and relieved of its normal function. And so, the observer has the chance to examine the spine with his own eyes.