Artists: Julien Carreyn, Than Hussein Clark, Jochen Dehn, Maurizio Galante & Tal Lancman, Samara Golden, Jason Matthew Lee, Shana Moulton, Cindy Sherman
Venue: Crévecoeur, Paris
Exhibition Title: There is nothing personal of yours to exhibit
Date: May 23 – July 19, 2014
Full gallery of video, images, press release and link available after the jump.
Shana Moulton, The Undiscovered Drawer, 2013. HD video, sound, color, 9’50”.
Video and images courtesy of Crévecoeur, Paris
In The Belly of An Architect by Peter Greenaway (1987), a character called Stourley Kracklite, American architect, travels to Rome with his wife Luisa to achieve a major exhibition about Etienne-Louis Boullée, French architect of the 18th century, deeply inspired by Enlightment, recognized today as an important theoretician and pedagogist, but who hardly was a builder.
Stourley Kracklite, while in Rome, becomes more and more obsessed by architecture, by his own innards which bother him (he suspects his wife to poison him) and develops a belly fixation that induces him to study many photographs of his pregnant wife’s belly, the Emperor Hadrian’s and his own. Despite Kracklite’s intense and sincere admiration for Boullée, and an ongoing fic- tional correspondence from him to Boullée, the project of Boullée giant exhibit-hall retrospective experiments a progressive failure. The failure of Kracklite as curator of this exhibition echoes in the film with a paradigm of failures: Kracklite fails as an architect commenting another architect, as a husband and finally as a man.
In his 43rd postcard to his imaginary friend and fellow-architect Boullée, Kracklite writes that «there is nothing personal of yours to exhibit – no writing desk, no discarded walking stick, no medals or silk hat – no wig or marriage certificate. Io asked me yesterday if, with this exhibition, we are inventing you in our own image. I have to confess he might be right.»
Stuck in his own physical and spiritual obsessions, Kracklite regrets not to be able to show personal artifacts which would embody the utopian architect. This note leads us to a series of questions that the group show at Crèvecoeur wishes to explore. Which part of the artist is revealed inside a fragment of his creation? Is there a part of the work which remains absolutely autobiogra- phical, or intimate? In which way displaying a piece of art in an exhibition is part of «inventing» the artist?
Link: Group Show at Crévecoeur