The Exhibition Tower
I recently published The Exhibition Tower, an exhibition catalogue that features four exhibitions that took place at the Jan van Eyck academy in Maastricht. The exhibition venue is a one to ten scale model of a tower designed by OMA for Lafayette Anticipations, a new art institute that recently opened in Paris. The Exhibition Tower explores over 40 different configurations of its mobile floors, enhancing curatorial flexibility in a space with an ultimate height of 18 meter.
The catalogue contains photographic documentation of the presentations by Van Eyck residents Stéphanie Lagarde, Graham Kelly, GVN908 and Golnar Abbasi, who displayed their work in the context of the tower whilst imagining the full-scale project it was modeled after. The editorial essay Animating the Ghost Sonata draws a paralel between The Exhibition Tower and August Strindberg’s 1907 screenplay The Ghost Sonata, a story about expectations, dreams and house rules.
Editor: Brenda Tempelaar With works and texts by: Stéphanie Lagarde, Graham Kelly, GVN908, Golnar Abbasi Essay: Animating The Ghost Sonata, Brenda Tempelaar Preface: Lex ter Braak Graphic design: Christophe Clarijs Photography: Romy Finke Copy editing: Daniel Vorthuys, Vincent van Velsen Printer: Cassochrome Pages: 120g Lessebo – paperback, 88p, 22 x 28 cm – otabind Language: English ISBN: 978-90-828111-0-0 Price: € 22,50 incl. 6% BTW
Paper Fan (2017)
Paper Fan (2017) animation video
Paper Fan (2017) animation video
“The white background represents nothing. The black mark represents something. It’s the clearest expression of mankind leaving traces in a given environment, and thereby irreversibly altering this environment.” (excerpt)
The Responsive W (2017)
“The zig-zag being a metaphor for a non-simplistic, more complicated (and thus more interesting) history of art. And, as it happens, the zig-zag also resembles a capital W.”
Diagrams for an Artwork with a Maximum of 18 Metres in Height (2016)
“The tower will feature 2 mobile floors that can each split into two unequal parts, thus creating four independent platforms. Using onboard motorization the platforms will move along a rack and pinion system to align to the various existing floor levels. But even though the floors can be arranged in almost any given spatial configuration, there is only one scenario that really counts. When all floors are lowered to align with line zero, an 18 metre high void is exposed.”
One of Two Poles Intersecting (2016)
The Exhibition Tower (2016)
The Exhibition Tower, a maquette of Lafayette Anticipations, serves as a miniature exhibition venue for exhibitions by other artists. Every iteration is documented and presented in overview with previous installations. End of 2017, a book will be published featuring the first four installations.
Recession is a sample from the space in between Atelier Brancusi and Centre Pompidou (Place Beaubourg, Paris). Rumor has it that Atelier Brancusi will soon be demolished to make room for something with a brighter future, from the point of view of economics. The title refers to the way in which the building is recessed into the square and the financial climate that the decision will be born out of.
Endless Column (2015)
“When you see a fish, you do not think of its scales, do you? You think of its speed, its floating, flashing body seen through water. Well, I’ve tried to express just that. If I made fins and eyes and scales, I would arrest its movements and hold you by a pattern, or a shape of reality. I just want the flash of its spirit.” (Constantin Brancusi as cited in Anna Bogarts, Tine Landau, The Viewpoints Book, 2005)
The Other Figure (2014)
“The two heads raised on plinths to the height of a modestly sized viewer are identical plaster casts of a Roman copy of an earlier Hellenistic bust. The busts show the heads slightly at an angle to the body, their faces turned to reflect each other precisely. This slightly sideways glance lends a degree of animation to what would otherwise be a static mirroring.” (Germano Celant, Arte Povera: History and Stories, 1985)
The Other Figure consists of an action and a sculpture. The action emerged out of modeling a bust in Giulio Paolini’s L’Altra Figura (1984) and breaking it on the exhibition floor. The sculpture emerged out of copying the fragments of L’Altra Figura individually. Both events explore the influence of a move, on the spontaneity of an installation and the re-enactment of an impulse.