Mediating Landscape presents an ongoing project curated by flip. The following documents the content from the group exhibition and additional contributions that build on the notion of 'display'.
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Kitty Anderson. Laura Barreca. Jennifer Bailey. Riccardo Benassi. Andrew Berardini. Xenia Benivolski. Lupo Borgonovo. Paul Branca. Willie Brisco. Simon Buckley. Carson Chan. Paolo Chiasera. James Clarkson. Michael Dean. Federico Del Vecchio. Giulio Delve’. Sonia Dermience. Aideen Doran. Olivia Dunbar. Sarah Forrest. Maria Fusco. Alberto Garcia del Castillo. Francesco Garutti. Ilaria Gianni. Nicola Gobbetto. Lena Henke. Helena Hladilova. David Jablonowski. Ilja Karilampi. Jan Kiefer. Jacob Korczynski. Lucia Leuci. Luca Lo Pinto. Francis McKee. Jacopo Miliani. Maurizio Nannucci. Francesco Pedraglio. Jorge Peris. Gianandrea Poletta. Gianni Politi. Filipa Ramos. Caterina Riva. Andrea Romano. Ala Roushan. Max Ruf. Margot Samel. Namsal Siedlecki. David Stucchi. Jenna Sutela. Fabio Santacroce. Yves Scherer. Marco Tagliafierro/Paolo Gonzato. Paul Teasdale. Philipp Timischi. Joey Villemont. James Winnett. Pedro Wirz. Gregor Wright.
The display landscape provides dynamic surfaces accommodating new modes of presentation, relations between exhibited artwork and spatial conditions. Participants include, artists, writers, and curators whose works are formally incorporated within the display landscape as a unified installation, blurring the boundaries of their practice. We are interested in the unpredictability of the narratives that arise from this type of organization specifically in the way individual artworks are mediated through the formal display.
The relations evoked between varying works of art, pragmatics of presentation, and existing spatial condition is the initial premise for this project 'MEDIATING LANDSCAPE'. To mediate and accentuate the intricate layers of relations, a series of tangible display objects are designed and constructed as part of the exhibition. These display surfaces occupy a formal position, intervening with the artwork to provide micro spaces to inhabit.
There is definite anticipation for tension and dialogue throughout the process of production, display and setup of the works. These are the moments that we hope to elaborate through discourse and writing around the notion of display; touching upon issues of proximity, adjacency, space, form and objecthood as it evolves from reflections and development of this project.
the emphasis of artmaking away from static, individual objects toward the presentation of new relationships in space and time. These relationships could be purely spatial, but also logical and political. They could be relationships among things, texts, and photo-documents, but could also involve performances, happenings, films, and videos… a shift from the exhibition space presenting individual, disconnected objects to a holistic exhibition space in which the relations between objects are the basis of the artwork.
One can say that objects and events are organized by an installation space like individual words and verbs are organized by a sentence… rather than art beginning to use language, it began to be used as language - with a communicative and even educative purpose. – Boris Groys
e-flux journal #29. november 2011. Boris Groys Introduction - Global Conceptualism Revisited
The display landscape provides dynamic surfaces accommodating new modes of presentation, relations between exhibited artwork and spatial conditions. Participants include, artists, writers, and curators whose works are formally incorporated within the display landscape as a unified installation, blurring the boundaries of their practice. We are interested in the unpredictability of the narratives that arise from this type of organization specifically in the way individual artworks are mediated through the formal display.
The relations evoked between varying works of art, pragmatics of presentation, and existing spatial condition is the initial premise for this project 'MEDIATING LANDSCAPE'. To mediate and accentuate the intricate layers of relations, a series of tangible display objects are designed and constructed as part of the exhibition. These display surfaces occupy a formal position, intervening with the artwork to provide micro spaces to inhabit.
There is definite anticipation for tension and dialogue throughout the process of production, display and setup of the works. These are the moments that we hope to elaborate through discourse and writing around the notion of display; touching upon issues of proximity, adjacency, space, form and objecthood as it evolves from reflections and development of this project.
the emphasis of artmaking away from static, individual objects toward the presentation of new relationships in space and time. These relationships could be purely spatial, but also logical and political. They could be relationships among things, texts, and photo-documents, but could also involve performances, happenings, films, and videos… a shift from the exhibition space presenting individual, disconnected objects to a holistic exhibition space in which the relations between objects are the basis of the artwork.
One can say that objects and events are organized by an installation space like individual words and verbs are organized by a sentence… rather than art beginning to use language, it began to be used as language - with a communicative and even educative purpose. – Boris Groys
e-flux journal #29. november 2011. Boris Groys Introduction - Global Conceptualism Revisited