In this twilight episode, I would like to consider the two aspects of our collective work. This consists on the one hand, of our research over these last six weeks, in and through the Web, and on the other hand, the very physical space that will frame our project at the end of the year. While the form of the blog, defined as a short term work, led us to favor mediated connections and meetings, how do we present and represent ourselves there?
Back from Rotterdam, where Elodie Dufour and I attended the “Rotterdam Dialogues” on “the curators”. We both had the occasion to meet up with a former “Erasmus” comrade of mine at the University of Vienna, Martin Boeckhout, who wouldn’t come to the Witte de With but was up for discussing about it. [EN]
A small discussion with Jean-Louis Poitevin while visiting Laurent Montaron’s exhibition at the IAC Villeurbanne (France).
For Münster’s “Sculpture Projects” in 2007, Dominique Gonzales Foerster makes a Roman de Münster, which consists in scale-downs of emblematic projects realized for the former editions. What’s the plan?
The Shiryaevo Biennial (Russia) is oriented to a concept of process, from the realization of artworks to their installation to their reception. Instead of relying on the model of the guides and docents touring the public through to understand the artworks, they started the Biennial concept with the guided tour as a format. Case study on two artists who used this inside their works in this framework, Dmitry Gutov and Peter Haury & Elke Hammelstein.
This Season 18 section will deal with the narrative structures inside exhibition spaces. Over the episodes, I would approach this notion of “narrative” in the artists’ artworks / solo exhibitions and make it get wider to curators’ displays.
Why is the exhibition place somewhere special for the transmission of some story, witness or fact? Why do artists choose such a place for such a form? Is this a place for a rumor that could then grow?