November 26, 2013 § 1 Comment
Emily Dickinson’s envelope manuscripts.
On view now (with Robert Walser’s microscripts) at The Drawing Center: Dickinson/Walser Pencil Sketches Nov 15 2013 – Jan 12 2014.
(images thanks to The Drawing Center)
In book form: The Gorgeous Nothings
November 21, 2013 § Leave a comment
From guest artist Seyoung Yoon,
Left – Evening feelings
Right – Again, another evening
Seyoung Yoon 2013
This post will discuss parts of the Phillipe Parreno exhibition at the Palais de Tokyo.
The blogosphere can be a child of haste. I have always disliked it when people ran directly to their blogs immediately following an exhibition, especially when the exhibition lasts as long as Phillipe Parreno’s ‘Anywhere, anywhere out of the world’ at the Palais de Tokyo (October 23rd 2013 to January 12th 2014). Sometimes reading a review of an exhibition I have not seen seems like watching a movie made of trailers, some can be very satisfying and stimulating resulting in a subsequent desire to attend the exhibition, while others incite opposing repercussions. That is to say, this is neither review nor trailer, but an account of one particular moment I experienced during the aforementioned exhibition.
Parreno has a piece called Anywhere Out of the World 2000
A 3D animation movie transferred onto DVD, 4 minutes
This piece was shown inside the auditorium on the bottom floor where there is a slight slope throughout the entire room.
Following the 3D animation film, a petite young girl walked through the dark toward the center of the room. The lights turned on. Suddenly, Ann Lee was facing me, prior to this, she had only been apparent to me in her collaborations with other artists (particularly the clip of her in a Tino Sehgal’s performance someone had secretly filmed), so it was a bit disarming to see her in analog as a live and breathing entity.
She began stirring up small talk, starting by asking casual questions such as, “How are you all doing today?” She explained how she arrived there and seemed quite content in meeting those of us in the room. And I remember another question that she had asked, “Would you rather be busy or not busy enough?” Nobody answered her questions directly, including myself. She continued. I was sitting down, we were almost at eye level. When ‘the piece’ was about to finish she approached me at very close proximity and said that she had something to ask.
“Quelle est la relation entre le signe et la melancolie?” (What is the relation between sign and melancholy?)
I was at a loss of words, all thoughts dissipated in search of thought. I was probing my brain intensely for a suitable answer but the rapid pace of my heartbeat was far too distracting. Only now I realize, this process actually embodied the relation between sign and melancholy. I was looking for the right sign, in this instance, words that embraced, implied and gathered my thoughts. Like the sound silence makes when it cracks, the space between my upper and lower lips widened, “slack-jaw,” “mouth-breather.”
Ann Lee’s last words to me were, “Vous ne savez pas? Ce n’est pas grave.” (You don’t know? It’s ok.) And her speech/performance/talk was over.
Alongside my “mouth-breathing” account here are some other things I would like to share with you:
If you don’t know what these links are trying to say,
ce n’est pas grave.