Fiona Abicare, Jumana Manna, Wolfgang Laib, Jennifer Caubet, Robert Gober, Doris Salcedo, Wolfgang Laib, Pierre Huyghe, Christopher Wilmarth, Isa Genzken, Carl Andre, Celine Conjorelle, Rachel Whiteread, Oscar Munoz, Doho Suh, Fiona Hall, Kate Newby, Yona Lee, Kohei Nawa, Nadege Desgenetez, Archie Moore, Sarah Ujmaia, Joseph Cornell, Felix Gonzalez, Roni Horn, WantShui, Mithsu Sen, Michael Heizer, Diana Thater, Yoko Ono, Mend Piece, Tatsuo Miyajima, Fiona Connor, Tove Storch, Wangshui, Tettsuumi Kudo, Joachim Bandau, Tishan Hsu, Suzanne Treister, Ivana Bašić, Analisa Teachworth, Amy Jane Parker, Maria Nordman, David Hammons, Ottogong kanga, Anish Kapoor, Bruce Nauman, Georg Herold, Lars Jan, Bill viola, Christian Murclay
NOTES
WolfgangLaib
the ephemeral, connected through the artist’s extensive vocabulary of common, repeating shapes and degradable materials. It invites the viewer to cast a meditative eye inwards, rather than externally to the work itself.
a slight indentation in the top of a polished white marble brick and fills that indentation with milk. The milk creates a seamless skin on the top the marble—the ephemeral and permanent perfectly joined. Laib states, “how temporary milk is and how eternal a stone is.”
Doris Salcedo
the vernacular appearance of the chair remains visible, but the resulting object has become a sort of memorial evoking an overwhelming feeling of absence. Its presentation strengthens the idea of the domestic sphere violently disrupted, acting as the material evidence of the disappeared.
Rachel Whiteread
memorialise everyday moments of life and absence
Have an intimate, physical relationship to the body despite their stark appearance. As objects that are meant to be held, used, and inhabited, their reference point is always human. And because they are always second-hand, they have had a life prior to the artist's treatment of them, and bring their own histories to her work.
Do Ho Suh
‘Home started to exist for me When I no longer had it’- Sun
"act of memorialisation."
“Space is directly connected to the body's memory. And the place where the sensory experience that the body experiences is most permeated is the house. The house is a place where you realize that the touch of the body remembers the space. Seo Do-ho's house, which has been explored consistently for more than 20 years, goes through the process of recalling the traces of irreversible physical spaces. His Seoul home is only possible after he leaves there, and his New York studio is also a space that can be produced when he moves to another place. The reproduction of the space always takes place belatedly. In other words, it is possible when the subject no longer exists in the space. The memory of space is a paradox that the absence is collateral. Therefore, the reproduction of the place is bound to occur 延期 in time”
‘ walk through an installation that is architecturally particular and yet almost invisible: to pass through a floating memory.’
"Life is a long journey and just spaces that pass through without a destination," he says. It would not be my prejudice that this sounds more like a Korean thought with Taoism or Buddhism than a comment from 'Nomad'.
the reason why he used a translucent cloth to reveal the memory of the space is confirmed: "After all, the cloth was the most minimal material in terms of loss and absence, the material that could handle nothing.”
The works’ construction suggested an inversion or perhaps a subtle confusion of outside and inside, shape and volume.
Kate Newby
simple and unexpected transformations of the gallery space. Such as handmade glass cast with small holes to let in the breeze and sunlight, and a newly poured concrete floor that rearticulates the eccentricities of the building and creates new ground for visitors to walk on.
Roni Horn
exploration of materials, particularly her use of cast glass, emphasises the transformative nature of substances. The material properties of glass, with its translucency and fragility, become metaphors for the malleability of identity and the constant state of flux in the world. The nature of glass as a material allows her to convey the ever-changing qualities of water, light, and the environment. The sculptures become metaphors for the mutable nature of identity and experience.
"Horn presents the literary form of the poem in its literalness, presence and materiality, and in its poetical aspect as a normal 'object' at home in the world. Dickinson/Horn form a literary and plastic partnership, with the sculptor placing the viewer at one of the points of the intimate geometry of her empathetic relationship and 'posthumous collaboration' with the poet."
Words are her images and she paints them expressionistically, which—combined with her method—causes letters to appear indeterminate, as if they are being viewed underwater.
Tove storch
The objects were devoid of references to the familiar world and stood as designed, formal entities that fit seamlessly into the hermetic space of the gallery. The works’ construction suggested an inversion or perhaps a subtle confusion of outside and inside, shape and volume. Yet upon a close encounter with the objects, this conceptual point seemed to recede in favour of the material tension between the hard structures and their soft surfaces. In their integration of the matter-of-fact, industrial steel and the ethereal, painterly qualities of the silk, Storch’s sculptures marked a phenomenological space in which the physical concreteness of things and the abstract visuality of their appearances entered a mutual feedback circuit.
Maria Nordman
Filmroom Eat, 1967 - 2013
she chose to avoid catalogues of her work, instead favoring a "living catalogue held in personal memory.”
Alicja Kwade
Revolution Orbita at Kamel Mennour
“Revolution Orbita”, Alicja Kwade has chosen to present OrbitaGravitas, a site-specific installation, where the stainless steel loops and weighted floating boulders place the space in tension. The gallery metaphorically becomes the center of the universe, with planets circling through it.
‘cosmic memory […] that frees human beings from their own plane or level and makes creators of them, adequate to the whole movement creation.’
deconstructing what we think of as our most familiar reality, uncovering mysterious, previously unknown details, measure by measure.
Immense hoops of stainless steel are linked together into possible cogs of brick. Like moving, oversized gears, the bricks seem to fall together, move or speed up, like planets incapable of getting out of orbit.
in order to create a renewed alliance or a third entity, one that includes the element of movement, synonymous with time.
They seem to react to its heat, and materialize a suspension of time, embodying the creation of the universe in the series of globes they form together.
“Silent Matter.”
“those stones are millions of years old and they are witnesses of all the strong forces which have been creating this planet, including us. They’re very wise objects in a compressed time and compressed history of this planet. “