You've got to dig to dig it, you dig?
Old Joy, 2006. A display of patience; a journey into woods that closes out a chapter in a friendship.
Wendy and Lucy, 2008. Precarity, lack of foresight, luck.
Meek’s Cutoff, 2010. Myth, tall tales, no maps, some kind of faith and strong resolve shape a journey west.
Museum Park Metromover Station
Sophie Calle’s The Blind on wall. Jorge Pardo’s Pallet (Exotic Wood), 1990 on the ground. Installation views of Some Aesthetic Decisions: Centennial Celebration of Marcel Duchamp’s Fountain, at NSU Art Museum, by Bonnie Clearwater.
“Les Aveugles” (The Blind), created in 1986, Calle questioned people born blind on their representation of beauty. 23 sets of framed texts, b/w and color prints and shelves. Collection of Stuart and Judy Spence, Los Angeles.
The Blind, a set of 12, is also part of L’art et la matière at Musée Fabre de Montpellier Méditerranée Métropole; an exhibition inviting guests to experience objects through touch, thus friendly to the blind. via Perrotin.
Forensic Architecture, collaborated with the Society of Friends of Halit, at documenta 14.
The results of their research, presented here in a video titled 77sqm_9:26min (2017) after the size of the internet café and the length of time that was the subject of police investigation, show that Temme gave a false testimony.
“Art has been very good in the last decades in problematizing the notion of truth, insisting that narratives are more complex than we’re told, that art is about doubt,” Weizman told a small group of press as he presented the project together with Ayse Gülec, of the Society of Friends of Halit, and the project manager of the forensic investigation, Christina Varvia. “We want to show another possibility of art—one that can confront doubt, and uses aesthetic techniques in order to interrogate.”
via artnet.
Heavy rain allows light to glisten, does more than flood.
