No Fixed Abode


About →

I am not scientifically minded: but the forces between the ever-changing position of the sun and the moon, and the effects upon sea and tide, and cloud and wind, which change the depths of shadow on forms have governed my life for a long time.
Barbara Hepworth
©Bowness, Hepworth Estate

London remains one of the globes three financial centres, dominating the slice of day after night falls in Tokyo and before day breaks in New York.
Larry Elliott and Dan Atkinson
Going South: Why Britain will have a Third World Economy by 2014. Reproduced with permission of Palgrave Macmillan

I'm not sure you're ever going to capture the 'movement' of capital markets, because there's not much to see.
Zachary Formwalt
Bank Officer (unnamed hedge fund)

Through an incidental discovery of a formal connection between Barbara Hepworth’s Sun and Moon 1969, and the symbolism of a now inactive property management company, a marriage of form - with the discursive interplay of the three quotes above - was followed drawing out a vestige of delineated spaces of invisible forces of calculability revealing semiotic totalities of differing ontological realms.

Having recovered the separate signs of the inactive property company, suspending them from the 70ft ceiling at V22 Gallery, the signs are experienced at a remove from their former architecture with the aim of making tangible both a sensible relation to gravitational forces, whilst enacting the absence of value in their former state. From the outset we have set out to take stock of a cosmology of material forces that we see at play in the quotes above and their effect on the formation of financial practices.

The narration of this semiotic movement from the functional realm of spatial production/reduction (property), through the aesthetic realm of inter-subjective contemplation (the sphere of art), provokes the question; what is to be learned through an attempt to at once chart this orbit, and to trace it? And what forces move with it, or in resistance to it?

This has led us to the opportunity ‘perform’ what has been termed by anthropologist Hirokazu Miyazaki, the performativity of finance theory. A company - Sun and Moon Futures - will be formed, founded on a futures contract with V22 gallery for the delivery of the (at the time of writing) incomplete artwork Sun and Moon Futures. A value will be placed on the work that will be commensurate to an equivalent of shares in the V22 collection. This stock will simultaneously be transferred to Sun and Moon Futures the company, fulfilling the delivery of the contract with V22 and interestingly becoming a stakeholder in its own constructed value.