Judith Clark —– part 2

“I believe that everything follows from the site of an exhibition – the architecture, or venue. For me there is no such thing as designing a hypothetical exhibition; even if I am designing a hypothetical exhibition it needs to have a hypothetical venue first.” “Curating is a way of thinking about special analogies.” Artistic director and scenographer Bob Verhelst “……. drawing our attention not to the museum’s hand (collecting, conserving, and themeing) but the anonymous, disorientating and distorting hand  of Martin Margiela himself.” Views of the outside were photographed and placed within the exhibition

. Upside Down Stores

Viktor & Rolf’s Milanese boutique in Via Saint’ Andre designed by Siebe Tettero. Quote from Siebe Tettero “If I were to turn minimalist architecture on its head it wouldn’t wok – i.e. if you turn a rectangle on its head it stays the same.”

Clark goes on to discuss captions. She didn’t use captions for her Spectres exhibition as the design of the set made it difficult to label the objects; she drew up a map of the space. “It was only when this ‘decision of mine’ was criticised did I realise that it was interesting, and how constraining captions are. I am now much more wary of them, suspicious about what they demand from, ask of, the spectator.” “Captions focus our attention, tell us what to look at and make sure we do not stray too far. Roland Bathes suggested, ‘photos in newspapers are always captioned: to reduce the risk engendered by the multiplicity of meanings’.”

Richard Gray “he translated decoration into more decoration. He created captions made up of images, of collage of visual references. He explained objects from  the permanent collection of the V&A”

Marie Claire Gallery: The House of Viktor & Rolf

Viktor and Rolf “They trap you in a dark mis-en-abime* of circular arguments, about the inside and outside of the system, about their love and hatred for clothing, about wealth and virtual wealth that is itself expensive (the collectors of expensive dolls’ houses themselves simulated ans stimulated wealth).”

*(mise en abyme is a formal technique in which an image contains a smaller copy of itself, in a sequence appearing to recur infinitely; “recursive” is another term for this.)

“The attempt to explain the poem by tracing it back to its origins will distract attention from the poem to direct it on to something else which in the form in which it can be apprehended by the critic and his readers has no relation to the poem and throws no light on it.” – T.S. Eliot



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