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The Saints, and Music & Films by Amy Granat
With Fia Backström
Jutta Koether
Amy O’Neill
Mai-Thu Perret
Emily Sundblad
Stefan Tcherepnin
Angel Turner
Opening the 26th of April, at 14.00, with ‘Emotional Music’ a performance with Amy Granat, Emily Sundblad and Stefan Tcherepnin.
The exhibition runs until the 14th of June 2008, 10am – 5pm
An exhibition curated by Mathieu Copeland
26 April to 14 June 2008
Sketch Gallery, London
9 Conduit Street
London, W1S 2XG, UK
Le Dojo, La Villa Arson et le laboratoire de mémoires présentent
Une exposition de mémoires
Une discothèque silencieuse
vernissage vendredi 2 mai à 18h
exposition du 3 mai au 9 mai 2008
Exposition collective de & avec BENJAMIN BICHARD, ANNA BYSKOV, ZORA CAHUSAC, MARION CHARLET, CAMILLE DEBRAY, ALYS DEMEURE, MAILYS D.PERRET, LOUP GANGLOFF, SOPHIE GRANIOU, LAURIE GERARDO, YASMINA HATEM, CINDY LELAURIN, SANDRA LORENZI, AURELIE MENALDO, MARYLINE M'GAIDES, STEPHANIE RAIMONDI, COLINE VECTEN, sur une proposition de MATHIEU COPELAND, avec NOËL DOLLA & PASCAL PINAUD
Cette réflexion est née d'une collaboration entre les étudiants de la Villa Arson et Mathieu Copeland, curateur d'exposition.
"Une exposition de mémoire"... s’ouvre sur un paradoxe et propose de penser d'après cette notion générique, comment poser des termes précis pour entrevoir et exposerl’impossible réalité de cette substance.
Penser une exposition comme on écrit une partition, ou la polyphonie des œuvres génère une création homogène et globale... "Une exposition de mémoire" met en place un mouvement auto générateur qui repense la realite d’un centre d’art alternatif niçois, le Dojo.
Les œuvres d'artistes, les archives du lieu et les espaces de travail sont utilisés et réactualisés, générant ainsi de nouvelles productions. "Une discothèque silencieuse" est mise en place et le souvenir de ce lieu unique se fond dans l'installation. Les résidus, les déplacements, les citations éclatent le sens et activent le processus de mémoire.
L'enjeu dépasse ainsi l'idée de représentation, s’offrant la mémoire d’un lieu et l’accumulation de mémoires fictives. S'insérant dans le cadre d'une exposition, cet environnement met en valeur les modes de productions inhérents à chaque engagement artistique : les contextes spatio-temporels, la médiation effective entre l'œuvre et le spectateur, et finalement les traces produites.
Les cartels de toutes les œuvres exposées depuis les débuts du Dojo, enveloppent l’idée de mémoire et invitent les spectateurs à déambuler à travers le lieu.
L’espace du Dojo est fractionné en deux axes symétriques, comme un espace bipolaire se réfléchissant. Le rocher, fil conducteur de toutes les expositions, s’offre comme la mémoire d’une idée, idée énoncée, projet évoqué puis abandonné, dont le souvenir est incarné par une plaque. Un second rocher en sucre conserve le souvenir du premier comme une réminiscence de neige en mai. Des interventions au cours de l'exposition invitent les spectateurs à questionner leur mémoire immédiate de l’œuvre.
LE DOJO
22 bis bd Stalingrad
F-06300 Nice
Tel 04 97 08 28 14
Fax 04 97 08 28 19
www.le-dojo.org
info@le-dojo.org
Le Dojo est ouvert
du lundi au vendredi
de 9h à 18h,
le samedi sur rendez-vous
VILLA ARSON
A Spoken Word Exhibition - Tranzit/Display - 18th of March - 20th of April 2008
tranzitdisplay
resource centre of contemporary art / zázemí současného umění
cordially invite you / vás srdečně zve na
A Spoken Word Exhibition / Mluvvené Slovo
Vito Acconci, Robert Barry, James Lee Byars, Nick Currrie, Douglas Coupland, Karl Holmqvist, Maurizio Nannucci, Yoko Ono, Mai-Thu Perret, Emilio Prini, Tomáš Vaněk, Lawrence Weiner, Ian Wilson
a Series of Spoken Word Events will take place during the course of the exhibition
Spoken Word Events by King Mob (17. 4.), Susan Stenger (18. 4.), Karl Holmqvist (19. 4.) and Fia Backström (20. 4.)
please contact the gallery or visit the gallery website for more information / součástí výstavy je program živých vystoupení zúčastněných umělců
mimo jiné vystoupí Nick Currie aka Momus (18. 3.), Tomáš Vaněk (19. 3.), Boris Ondreička (10.4.), King Mob (17. 4.), Susan Stenger (18. 4.), Karl Holmqvist (19. 4.) and Fia Backström (20. 4.)
pro bližší informace prosím sledujte web www.tranzitdisplay.cz
Exhibitions view - far right still of INSTANT EXTRA+, a spoken word event by Fia Backström
A Choreographed Exhibition / Eine Choreographierte Ausstellung
With Jonah Bokaer, Philipp Egli, Karl Holmqvist, Jennifer Lacey, Roman Ondak, Michael Parsons, and Fia Backstrom & Michael Portnoy. An exhibition by Mathieu Copeland.
‘A Choreographed Exhibition’ is an exhibition only composed of movements. For over a month and a half, three dancers from the Tanzkompanie Theater St. Gallen are present in the kunsthalle during the opening hours to perform in space the choreography of movements, patterns and choreographed gestures, following the scores and instructions as provided by the invited artists, dancers, and choreographers.
In a space where nothing is present but the dancers, in a the gallery left empty, only the opening hours of the gallery (2pm – 6pm expect Saturdays & Sundays from 1pm – 5pm) and the length of the exhibition (each days between Wednesday and Sunday included from the 1st of December 2007 until the 13th January 2008) gives the time (the rhythm?) to all the pieces. ‘A Choreographed Exhibition’ considers choreography and dance, movements in space and in time, as the gestures become an abstraction of forms choreographed in the space of the Kunsthalle. A succession of movements, where ultimately only the memory of these gestures remain.
Roman Ondak (*1966, lives in Bratislava) with his contribution „Insiders“ begins & closes each day of the exhibition, as the dancers are invited to reverse what is expected of them and not perform, asked to ignore their surrounding reality & any spectators whilst wearing their clothes inside-out. The director/conductor of the Tanzkompanie St. Gallen, Philipp Egli (*1966, lives in St. Gallen) creates for the exhibition a piece where the texture of the body echoes the quality of the space, where the dancers begin the piece by choosing randomly a sealed envelop and discover a set of instruction to be performed in space, a piece where the immediate memory of tasks to be realised in space echoes their own memory as they are often invited to remember each others choreography and subsequently perform these. Composer Michael Parsons (*1938, lives in London) re-actualises his seminal ‘Walking Pieces’ first realised on the 2nd of August 1969, and instructs the three dancers with a series of scores written for the exhibition on how to walk straight lines within the spaces of the Kunst Halle, thus generating an open piece of visual music. In a choreography somehow reminiscent of a 1960s experimental theatre, Fia Backstrom (*4th of March 1957, in Stocksund, Sweden) & Michael Portnoy (*1971, both living in New York) in this unique collaboration create a piece about exchange systems, as two dancers perform intelligible primitive tribal moves and bargain for their lives, engaging several times during the day a series of 5 morphemes deriving from the daily updated live stock market report as read by a third dancers who evolves in space similarly to any share evolve in the stock exchange. Karl Holmqvist (*1964, lives in Berlin) creates a polyphony of voices in asking the dancers to repeat, perform, sometime sing lyrics from Songs, creating a medley between Tomorrow from Bugsy Malone, & Who Killed Bambi from The Great Rock’nRoll Swindle, entwined with lyrics of their own liking whilst evolving randomnly in the space of the Kunsthalle. The choreography generated by Jonah Bokaer (*1981, lives in New York) with ‘Three Cases of Amnesia’ writes three movements for any three dancers each realised at different moment during the course of the day, inviting the dancers to play on their memories and movements as they mediate & reveal the space of the Kunsthale, and their bodies and expressions echoes and engages with the space and generates so many germs as movements to come and ultimately disseminate & spread. Creating the transitions between all the pieces, Jennifer Lacey, who lives & works in Paris, developed a large series of instructions linking all the pieces together, inviting the dancers to choose each day the transitions to be realised between all of the pieces, all taken from a large series of choreographed gestures that can either be a humming in space whilst performing their own essential personal & private activities, or at other time an instructions to do nothing or rest, or again as an instruction to engage for a time in a classical & iconic dance move to be performed with closed eyes (…), altogether creating a choreographed piece that intervenes in-between all the pieces, and therefore within the core of the exhibition.
All pieces are performed as the day evolves, yet at any given time the viewers are only confronted to a succession of solo shows, one piece by one artist, as only in the entire time of the day and solely throughout its whole duration is the group exhibition revealed. Similarly to dance & performance, ‘A choreographed exhibition’ is a mode of production that produces no objects, and as such affirms its political standpoint in an oversaturated world. The exhibition considers movements as the means to produce ephemeral art pieces, as the works only exists for the time it takes for the dancers to inscribe them in space. Through their execution in time these pieces generate an exhibition of movements, and thus structure the movements of the exhibition as an ephemeral environment, or in other words, as a choreographed exhibition.
Photographies by Anna-Tina Eberhard
Le geste est notre état d’esprit / A gesture is our state of mind
Kunsthalle St Gallen, Davidstrasse 40, CH-9000 St. Gallen
Open from Wednesday until Sunday: Wed/Thur/Fri: 14-18 ; Sat & Sun: 13-17
‘A Choreographed Exhibition’ is an exhibition curated by Mathieu Copeland and co produced by the Kunsthalle St Gallen (http://www.k9000.ch/) and La Ferme du Buisson (http://www.lafermedubuisson.com/).
A Spoken Word Exhibition, and a Series of Spoken Word Retrospectives
Guest curator Mathieu Copeland presents “A Spoken Word Exhibition” at the Swiss Institute - NY. The exhibition consists of artworks repeated by the Institute‘s staff. By leaving the gallery space empty and making works available only on demand, an exchange is initiated between spectators and the gallery staff. An exhibition of the same nature & material as that of the artworks that it is constituted of, which are words. Artworks only spoken, exchanged as a verbal gesture from one person to another, generating ultimately an exhibition that only last the time it takes to hear it.
Artists contributing to “A Spoken Words Exhibition” include Vito Acconci, Robert Barry, James Lee Byars, Nick Currie (aka Momus), Douglas Coupland, Karl Holmqvist, Maurizio Nannucci, Yoko Ono, Mai-Thu Perret, Emilio Prini, Tomas Vanek, Lawrence Weiner, and Ian Wilson.
Through the artist’s voice and words, The Spoken Word Retrospectives present us with the whole of an artist’s career, generating a mental retrospective in the mind of the one who hears it, as said & seen by the artist. A spoken word retrospective begins with everything, and produces nothing more, only everything.
Artists contributing to “A Series of Spoken Words Retrospectives” include David Medalla and Gustav Metzger.
SCHEDULE FOR LIVE EVENTS, EVERY DAY AT 6PM, 495 BROADWAY 3FL, FREE ENTRANCE:
For more information on the live events, please click here
OPENING : Nov 1 Karl Holmqvist
Nov 2 Michael Portnoy - A Seminar in Sublingual Carnage.
Nov 3 An evening of the book(s)
18.00 : A Reading from Mai-Thu Perret’s the Crystal Frontier
18.30 : 2 or 3 things I know about books, an event by Raimundas Malasauskas with Michael Portnoy & Fia Backström
Nov 4 Robert Barry
Nov 5 Genesis Breyer P Orridge
Nov 6 David Medalla - "Four Aces: Towards a nano theatre of Utter Meaninglessness"
Nov 7 Vito Acconci
Swiss Institute [SI] - 495 Broadway 3rd Floor - New York NY 10012
Biennale d'art contemporain de Lyon, 19 septembre 2007- 6 Janvier 2008- artiste invitée Mai-Thu Perret avec 'An Evening of the Book'
www.biennale-de-lyon.org/bac2007/fran/
L’œuvre pensée pour la biennale par Mai-Thu Perret se trame avec en toile de fond ‘An Evening of the Book (une Soirée pour le Livre)’ (1924), une pièce de théâtre agit-prop. Mis en scène par Vitalii Zhemchuzhnyi, cette propagande pour le livre aux décors et costumes conçus par Varvara Stepanova s’organisait comme une expérimentation dans l’agitation artistique pour les masses par le livre avec des étudiants de l’Académie de l’Education Communiste. De plus, il est à noter le parallèle entre cette histoire et le présent livre d’histoire, autant formellement de par l’importance de leurs graphismes que dans cette volonté d’écrire au présent une histoire en cours. Tout comme ‘An Evening of the Book’ présente le conflit entre les héros des livres pré-révolutionnaire et ceux de la nouvelle révolution, les personnages sortant tous au fur et à mesure des pages d’un livre géant présent sur scène ; Cette biennale se matérialise dans un livre ou l’histoire de l’exposition devient l’histoire d’un livre d’histoire (d’histoires ?). Il nous reste à espérer que tout comme dans cette pièce des années vingt, l’écriture en cours voit la victoire revenir aux héros révolutionnaires.
L’installation ainsi réalisée s’articule autour de trois écrans, trois films de répétitions incessantes de mouvements, un groupe de danseuses reprenant sans cesse des gestes & postures chorégraphiés. Poursuivant une recherche optique et systématique, ces films sont projetés dans un espace tapissé de papier peint réalisé par l’artiste dont les motifs rappellent l’œuvre de Stepanova, un motif qui littéralement se trame jusque sous les films, et leur imprime un léger moiré, comme un flottement.
En opposition à la dictature du présent et la conception de néo, et insistant que nous sommes actuellement dans une époque baroque et rococo, cette pièce s’offre comme une chorégraphie de mouvements. Le signe et le motif sont les leitmotivs dont le mouvement structurent ces films. En échos aux formes géométriques de l’abstraction constructiviste et son actualisation au travers d’une série de films, le présent présent dans ces films est rejoué jusque dans les relations réelles qu’entretiennent les actrices entre elles, dessinant une boucle que celles-ci habitent
Filmstills "An Evening Of The Book", © Mai-Thu Perret, 2007
Mai-Thu Perret’s installation ‘An Evening of the Book’ finds its origins in the agit-prop theatre piece ‘An Evening of the Book’ from 1924. Directed by Vitalii Zhemchuzhnyi, this propaganda for the book whose costume and set was designed by Varvara Stepanova was organised as an experimentation on mass artistic agitation through the book, with the students from the Communist Education Academy.
The installation entitled ‘An Evening of the Book’ is composed of a room featuring three screens, and on each are projected a different film of unceasing repetitions of movements; a group of dancers repeating unremittingly gestures & choreographed postures. Following upon an optical and systematic research, these films are projected in a space covered with a wallpaper designed by the artist, whose motif are reminiscent of Stepanova’s art, a pattern that is also weft literally into the films as a silvery white pattern on white is reproduced on the surface of each screen, giving them a moiré (or shimmering) effect, as if they were floating.
As opposed to the dictatorship of the present and its conception of néo, and insisting that we are currently in a baroque & rococo period, this piece is offered as a choreography of movements. The signs and the patterns are the leitmotivs whose movements structure the films. As an echo to the constructivists’ abstraction of geometrical forms and their actualisation through a series of films, the present present in the film is replayed all the way to the relationship that bound the actress together, drawing a circle that they do inhabit.
An exhibition with Loris Gréaud and Arnaud Michniak, by Mathieu Copeland
Hong Kong, Hong Kong City Hall, 14th of May - 27th of May 2007 - Launch : Sunday the 13th of May, 7.15, Agnes b Cinema / Hong Kong Arts Centre - Screening followed by a public discussion
exhibition views / vues d'exposition
The exhibition appears as a moment frozen in time. A place where the viewers constantly celebrate the opening of an exhibition in a gallery whose size is gradually reduced, and that in turn reduces the view over the city.
The first movement of the exhibition comes with the present DVD that acts as a catalogue. Widely available, it features two new-commissioned films by Loris Gréaud and Arnaud Michniak both filmed in Hong Kong. The film ‘Celador, un goût d’illusion’ by Loris Gréaud is an advertising for a candy that taste of illusion. The film by Arnaud Michniak “Sound take in a hospital” focuses on arrested moments in the midst of a city in constant movement.
The exhibition at the Hong Kong City Hall appears minimal, if not empty. The films realised for the exhibition are shown sporadically throughout the exhibition. Our experience in the gallery is somehow what we are told of these works. There, everything remains, but nothing is left. Nothing seems to happen. The only element that evolves throughout the exhibition is, paradoxically, the space itself. The art is simply everything else.
Film Stills
Une exposition avec Loris Gréaud et Arnaud Michniak, de Mathieu Copeland
L’exposition apparaît comme un moment gelé dans le temps. Un lieu où les spectateurs célèbrent constamment le vernissage d’une exposition dans une galerie dont la taille se réduit graduellement, et qui en retour réduit la vue sur la ville.
Le premier mouvement de l’exposition a lieu avec le présent DVD, qui en devient son catalogue. Largement diffusé, celui-ci présente deux films commissionnés à Loris Gréaud et Arnaud Michniak, tous deux filmés à Hong Kong. Le film ‘Celador, a taste of illusion’ de Loris Gréaud est une publicité pour un bonbon au goût d'illusion. Le film d’Arnaud Michniak ‘Prise de son dans un hôpital’ se concentre sur des mouvements arrêtés au sein d’une ville en mouvement constant.
L’exposition au Hong Kong City Hall apparaît comme minimale, sinon vide. Les films réalisés pour l’exposition sont présentés de manière sporadique dans l’exposition. Notre expérience dans la galerie n’est finalement que ce que l’on nous dit de ces œuvres. Ici, tout demeure, mais rien ne reste. Le seul élément de l’exposition qui évolue est, de manière paradoxale, l’espace lui-même. L’art est simplement tout ce qui est autre.
DVD / Publication ‘Une exposition avec Loris Gréaud & Arnaud Michniak, de Mathieu Copeland’. Un DVD contenant le film de Loris Gréaud ‘Celador, un goût d’illusion’ ; et le film d’Arnaud Michniak ‘Prise de son dans un hôpital’. DVD Toutes Zones (PAL), Couleurs, Son, 4/3, tout public, 15min. Livret 36 pages, couleurs, contenant une sélection de film stills, ainsi qu’une discussion entre Mathieu Copeland, Loris Gréaud, Karl Holmqvist et Arnaud Michniak, Anglais & Français.
Release of the DVD / Publication ‘An exhibition with Loris Gréaud & Arnaud Michniak, by Mathieu Copeland’. A DVD featuring the film by Loris Gréaud ‘Celador, a taste of illudion’ ; and the film by Arnaud Michniak ‘Soundtake in a hospital’. DVD All zones (PAL), Colour, Sound, 4/3, all public, 15min. Booklet 36 pages, colour, featuring a selection of film stills, and a discussion between Mathieu Copeland, Loris Gréaud, Karl Holmqvist and Arnaud Michniak, English & French.
Please contact info@mathieucopeland.net
« Exhibitions’ Ruins / Emotional Landscapes »
« Tilfinningalandslag (rotnandi sýning) »
With / Sýningin er unnin á grunni verka frá eftirfarandi listamönnum
Birgir Andrésson, Stefan Brüggemann, Nicolas Garait, Loris Gréaud, Elin Hansdottir, M/M (Paris) & Gabriela Fridriksdottir, Gustav Metzger, Jeremy Millar, Francois Morellet, Olivier Mosset, & Claude Rutault.
An exhibition by / Sýningarstjóri Mathieu Copeland.
At the SAFN Collection / Í Safni; samtímalistasafni, Reykjavik, 17/03/2007 – 12/05/2007
“The Movement of People Working”
An exhibition of the films by Phill Niblock,
Curated by Mathieu Copeland
“In film, I am interested in eliminating film time (editing time) and montage, sequencing, narrative line, development, plot, all of the things usually relevant to film, and concentrating on stasis, reiteration on a single idea”.
Phill Niblock
The series of films The Movement of People Working by intermedia artist, minimalist composer, filmmaker and photographer Phill Niblock (who was born in 1933 and lives and works in New York and Ghent, Belgium) portray human labour in its most elementary form. Filmed on 16mm stock in locations including Peru, Mexico, Hungary, Hong Kong, Brazil, Lesotho, Portugal, Sumatra, China (video) and Japan (video), The Movement of People Working focuses on work as a choreography of movements and gestures, dignifying the mechanical yet natural repetition of labourer’s actions.
A wide selection of Niblock's slowly evolving, harmonically minimalist music, realised between 1968 and 2006, are played back in the gallery during the projections, the sound level of these compositions allowing a visceral experience of the long drones and inhabit the ringing, beating overtones. The layering of tones echoes the repetitions of the workers' actions; the evolution of the films on each screen (changing throughout the day), combined with a program that randomly plays back different music pieces, results in a constant renewal of forms, continuously offering the exhibition of new juxtapositions of sound and image.
Images © Phill Niblock
AN INTERVIEW WITH PHILL NIBLOCK (22/11/2006)
The opening on January 20th featured flautist/bassist Susan Stenger (Band Of Susans/Big Bottom) and guitarist Robert Poss (Band Of Susans), long-time performers of Niblock's music, playing 4 pieces (some of which were composed especially for them).
Sketch Gallery, London, 20th of January until the 10th of March 2007.
IT IS WITH GREAT PLEASURE THAT WE ANNOUNCE THE LAUNCH OF THE SHOW TITLES WEBSITE. ACCOMPANYING THE EXHIBITION ‘THE TITLE AS THE CURATOR’S ART PIECE’, AN EXHIBITION THAT USES ONE OF THE SHOW TITLES WRITTEN BY MEXICAN BORN, LONDON BASED ARTIST STEFAN BRÜGGEMANN, THIS WEBSITE OFFERS THE POSSIBILITY TO VIEW, AND TO HEAR, ALL 728 SHOW TITLES WRITTEN TO DATE.
THE SHOW TITLES IS A WORK IN PROGRESS BY STEFAN BRÛGGEMANN OF TITLES FOR EXHIBITIONS. FREELY AVAILABLE, THESE ARE TO BE USED AS ONE WISH. WITHOUT ANY NEED TO ASK FOR ANY AUTHORISATION, THESE ARE TO BE USED AS THE SHOW TITLE, AND CREDITED AS AN ART PIECE BY STEFAN BRÛGGEMANN (SHOW TITLE, #XXX BY STEFAN BRÜGGEMANN). A COPY OF THE INVITATION CARD, AND ANY PRINTED MATERIAL, IS TO BE SENT TO THE FOLLOWING ADDRESS: BLOW DE LA BARRA, 35 HEDDON STREET, W1B 4BP, LONDON, UK.
Online now.
The title as the curator's art piece* A summer Show by Mathieu Copeland
A painting exhibition with Jaroslaw Flicinski & Claude Rutault
A spoken word exhibition with Douglas Coupland, Nick Currie (aka Momus), Karl Holmqvist, Tomas Vanek, Lawrence Weiner & Ian Wilson
*Show title #347, by Stefan Brüggemann
Exhibition running from the 21st of June until the 2nd of September
Blow de la Barra, 35 Heddon Street, London W1B 4BP
Tel + 44 (0) 2077347477 info@blowdelabarra.com
A publication accompanies the exhibition featuring discussions with artist and musician Nick Currie (aka Momus), curator Raimundas Malasauskas, and artist Claude Rutault.
The audio extracts featured on the wesite were repeated (not performed) by gallerist Pablo Leon de la Barra to curator Raimundas Malasauskas at Blow de la Barra on the 25th of Jully 2006.
Soundtrack composed by/composée par Susan Stenger [Band of Susans] with contributions by/avec des contributions de Robert Poss [Band of Susans] , Alan Vega [Suicide], Alexander Hacke [Einstürzende Neubaten], F.M. Einheit [ex Einstürzende Neubaten], Will Oldham [Palace Music, Bonny Prince Billy], Kim Gordon [Sonic Youth], Mika Vainio [Pan Sonic], Bruce Gilbert [Wire], Ulrich Krieger, Warren Ellis [The Dirty Three, The Bad Seeds], Jim White [The Dirty Three], Jennifer Hoyston [Erase Errata], Andria Degens (Pantaleimon), Spider Stacy [Pogues]
Paintings by/Peintures par John Armleder, Steven Parrino
Feature film by/Film par Kristian Levring
An exhibition by/Une exposition de Mathieu Copeland
Audio excerpt from Soundtrack for an Exhibition :
Exhibition View / Vues d'exposition :
soundtrack for an Exhibition (fr - eng) - 8th March until 11th June 2006 - Musée Art Contemporain Lyon
EA C / Expat Art Centre
EA C / Expat Art Centre is an ongoing exhibition that takes place when the art centre, the museum... is closed, inserting itself between two exhibitions. With Brian Eno, Pierre Huyghe, Ben Kinmont, Claude Leveque, Didier Marcel, Olivier Mosset, Shimabuku, Dan Walsh, Ian Wilson. An exhibition by Mathieu Copeland. PDF Leaflet of the exhibition (English - Francais - Polish - Lithuanian - Estonian - Chinese)
Exhibitions Views / Vues d'expositions :
Exhibitions Views: ICA London, Musée Art Contemporain Lyon, Muzeum Sztuki Lodz, CAC Contemporary Art Centre Vilnius, Kunstihoone Tallinn. © The Artists & Mathieu Copeland.
David Cunningham / Sebastien Roux
Wall paper music - Sebastien Roux (LOT Bristol)
Exterior - David Cunningham (AA London)
Meanwhile... across town - Cerith Wyn Evans
Meanwhile... across town - Cerith Wyn Evans (Centre Point London)
"Meanwhile…across town", by Cerith Wyn Evans, permeated the centre of London with a Morse code message transmitted from the neon signs of the landmark Centre Point Tower on Oxford Street. Produced by Forma and curated by Mathieu Copeland, witnessed by hundreds of thousands of people who see the Centre Point Tower from across London every day, Wyn Evans used the letters 'o' and 'i' from Centre Point's signs to transmit an extract from The Visible and the Invisible, an unfinished book by the French existentialist philosopher, Maurice Merleau-Ponty [1908-1961]. The building may be seen as a host organism infected with a virus - the code of a dying language that has taken up temporary residence. The text became buried in the urban landscape, where the pulsating narrative of the Morse code signal might even suggest that every other flashing light might be beaming out its own story.
This invasion of the social fabric of the City was at the core of the artist's intentions. "Meanwhile…across town" appeared as an elegant and subtly perverse way of pointing to no more than the communication itself; through the archaic communication tool of Morse code, broadcasted across town, its message became, ultimately, temporarily, an intrinsic part of the cityscape.
