installart

Links

Radiolab: War of the Worlds (March 07, 2008)

http://www.wnyc.org/shows/radiolab/episodes/2008/03/07

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EFA Project Space
A Program of the Elizabeth Foundation for the Arts

323 West 39th St, 2nd Floor, New York, NY
Gallery hours: Wed- Sat, 12-6
212-563-5855
http://www.efanyc.org | http://www.rev-it.org

‘Parafacts and Parafictions: Helguera, and Blachly & Shaw’ is an evening of performance-presentations organized in conjunction with the exhibition Companion, curated by REV- and currently on view at EFA Project Space. Pablo Helguera and Jimbo Blachly & Lytle Shaw will enact live components to their projects included in Companion, followed by a Q & A session moderated by Marisa Jahn, artist and exhibition curator.

Introduction
Art historian Carrie Lambert-Beatty offers a definition of the term ‘parafiction’, a term used to describe an emergent genre of artwork that plays in the overlap between fact and fiction: “Like a paramedic as opposed to a medical doctor, a parafiction is related to but not quite a member of the category of fiction as established in literature and drama. It remains a bit outside. It does not perform its procedures in the hygienic clinics of literature, but has one foot in the field of the real.” If a ‘parafiction’ operates in that space between fictional and real, alongside this term we might position a second: a ‘parafact’—an artwork that more stringently draws from the real—but a ‘real’ whose narrative is so curious, exquisite, or implausible so as to call into question its own veracity. Pablo Helguera, and Jimbo Blachly & Lytle Shaw‘s performance-presentations engage both of these tacts. In so doing, the artists raise questions about the function of truth and fiction—its bearing on knowledge, ethics, or aesthetic transformation.

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What happens next is a secret
26 January – 18 April 2010

Irish Museum of Modern Art
Royal Hospital Kilmainham
Dublin 8
Ireland
Tel: +353-1-612 9900
info@imma.ie

http://www.imma.ie

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What happens next is a secret is an intriguing, experimental exhibition that attempts to address the question of what happens when artworks become part of a museum collection and are subsequently shown in many different contexts. Working from a potential list, the artworks will be changed during the course of the exhibition, with removals generating absences which call to mind gaps in our memory and point to the partially hidden nature of collections. Meanwhile, the introduction of works may draw out new and unexpected associations, and perhaps new narratives will emerge. Strategies such as repositioning works within the gallery will be used to alter the pace of the exhibition. Films from the IMMA Collection will be shown in a dedicated screening room. Due to the unpredictable changes which are inherent in the exhibition, a list of works will not be disclosed in advance.

A publication will be produced over the course of the exhibition, with the printing happening in four stages – the second stage will be printed directly on top of the first stage, and so on – resulting in chance over-printing. This will form a parallel with the layering of meanings generated in the gallery.

When a group of works is brought together for an exhibition, the possibility for new meaning is created – whether that is a new meaning generated between works, or implied by an overriding theme. This may be intentional or a free association may emerge as a result of a chance coming-together of ideas in the mind of the viewer.

While the exhibition will use mainly works from the IMMA Collection, a small number of works will be borrowed, directly from artists or from other collections. Such as Lawrence Weiner’s statement 021, 1968 which is on loan from the collection of Seth Siegelaub. Also on loan for the exhibition is The Museum Minus the Collection, 2005 by Frantiska + Tim Gilman which was made while they were on IMMA’s Artists’ Residency Programme. This work is an IMMA collection catalogue from which images of the artworks have been cut away creating an intricate lattice. The artists have said that “the holes in our memory define our minds, as windows help define a structure”. The negative spaces left by the absent images create a new structure within the book – each removal acting like a window framing further absences.

Donald Urquhart’s outdoor work Recurring Line is absent from view for most of the year. It is a site-specific work in the Meadow of the Royal Hospital site; home to the IMMA Collection. It is a drawing made annually in the landscape by the appearance of Galanthus Nivalis (snowdrops). During the course of the exhibition Urquhart will be making a related temporary wall drawing in the gallery titled In absentia.

Artists on IMMA’s Artists’ Residency Programme (ARP) will be invited to engage with the exhibition in a variety of ways, such as exploring methods of presentation or intervening in the exhibition by creating temporary works of their own. Past ARP resident Tine Melzer has made a new work in a hidden space, which has been discovered behind a false wall in the gallery. IMMA has commissioned a sound piece by Irish-based artist Russell Hart who will be working with Irish artist Karl Burke to produce a new work in response to the exhibition.

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