EX-PORT EVERYTHING

Condensed ways of exhibiting

 
‘When I put my verses together, I think of Rodin, who wanted to place his Burghers of Calais in the marketplace on a low plinth so that the flesh-and-blood citizens would never be lower than them. The legendary citizens would find themselves amongst them and would bump into them standing in their midst.’

(From Bertold Brecht’s Diaries, September 1920)

 
Here we talk about the moment when it is the artist herself who thinks about how to bring all the meaning of the work out, about how to exhibit and clarify the fulcrum of the body of her work. About how to summarise, compress and place its essence before other people’s gaze. About how to bring something out that continues to be set in motion within the isolation of her studio and within her cranium. About how to bring others into contact with her nucleus. This is where we talk about when the exhibition itself was conceived as if it were a work and about when it becomes a meta-exhibition that contains a reflection of itself, and about the meaning of exhibiting and being exhibited. Not so much an ‘Antho-logic’ s as a ‘Condensed-logic’, meaning that it is not the summarisation of a life’s work so much as a synthesis or abstraction of the substantive meaning.  
 
The ‘Gestureplace’ and the ‘Mindsite’* are the fulcrums of the work and become the generators of exhibitive expedients through which everything that has been ruminated in one’s cave is brought out into the open to be looked at by others.
The ‘Gestureplace’ is exhibited through the ‘Ostension’ and the ‘Mindsite’ through the ‘Expansesite.
The ‘Ostension’ is an exhibition in which, through a performative act, all the artistic material contained in the ‘Archivers’ of the ‘Gestureplace’ is brought out.
The ‘Expansesite’ is the space filled with the thousand possible variations of the ‘Document works’’, the ‘Work documents’ and all the data extracted from the archive.
There is also a third way which is described in the third paragraph with the title ‘Expanse-coring’, which holds together the two souls, that of the ‘Document-work’ and that of the ‘Work-document’.
 
 
 
*The ‘Compressing’ chapter in ‘Self-portrait’ is dedicated to these two spaces, one physical the other mental. The ‘Gestureplace’, where the substance is generated and archived, and the ‘Mindsite’, where the thoughts about the work and their story are generated and archived. 
 
 
(Written in 2022)