Curated by Jean Crutchfield and Robert Hobbs, Tavares Strachan conceived an immersive installation that includes different media such as neon signs, video, sculpture, and painting, and surrounds
the viewer by documentation of a reenactment of a historic narrative: the 1909 polar expedition of Robert Peary and Matthew Alexander Henson.
Not exact matches
Viewers can expect to participate in a performance
by gorgeousTaps and the Reality Show, see collectively - produced video works, built objects and performance
documentation from Flux Factory and Madagascar Institute, and experience presentations
by artists who have abandoned or expanded traditional alone - in - the - studio artist practices.
The main exhibition space will feature an immersive installation, in which the
viewer is surrounded
by documentation of a reenactment of a historic narrative: the 1909 polar expedition of Robert Peary and Matthew Alexander Henson.
The main exhibition space featured an immersive installation, in which the
viewer is surrounded
by documentation of a reenactment of a historic narrative: the 1909 polar expedition of Robert Peary and Matthew Alexander Henson.
Exposures were mostly made under lighting conditions
viewers experienced when visiting the installation to maintain consistency between
documentation and experience — some very long exposures were only made
by candlelight alone.
They vary from an attempt at reconstruction (When Attitudes Become Form, Venice, 2013), which entails the impossible endeavor of providing the
viewer with an authentic experience in the form of an archival
documentation exhibition with the aim of updating our (own) past (Recollections), to a much more multifaceted or «corrected» image of the original, such as Jens Hoffman's Other Primary Structures, which also included sculptures
by artists working in the 1960s in Asia, Latin America, the Middle East, Eastern Europe, and Africa, and which reexamined the exhibition of 1966 from a global point of view.
However the line between historical
documentation and fiction is blurred
by a soundtrack that both substantiates and undermines the proof of the naked eye, leaving the
viewer suspended between times, uncertain if what they are seeing is historical evidence or a construct of the artist.
Through five rooms, the Jamaica - born Ward creates fictional experiences for the
viewer by skewing found material, photography, collage, video, social
documentation, and sculpture into art objects.
The huge exhibition moves from a diptych of Hans Namuth's film of Jackson Pollock at work, playing on a monitor next to Pollock's Number 1 (1949), through - among so many other things - Japanese Gutai painting performances from the»50s; photo -
documentation of Valie Export's Genital Panic (1969), in which Export, in crotchless jeans and packing an Uzi, roamed the aisles of a porn cinema challenging
viewers to deal with the real thing (there's that «real» thing again); relics of Hermann Nitsch's bloody ritual drama, Asolo Raum (1971), to the most recent works, set pieces
by Mike Kelley and Paul McCarthy.