Liquid Sky - Liquid Concrete
24/01/2003 - 06/04/2003 / 14/01/2003 - 15/02/2003
FRAC Bourgogne
49, rue Longvic
21000 Dijon, France
Swiss Institute – Contemporary Art
495 Broadway, 3rd Floor
New York, NY 10012
USA
t: 212 925 2035
f: 212 925 2040
www.swissinstitute.net
Tony Matelli, “Sleepwalker”, 1997
SWISS INSTITUTE-CONTEMPORARY ART PRESENTS:
LIQUID SKY with CHRISTOPH BÜCHEL / BOB GRAMSMA, TONY MATELLI, DEBORA WARNER
curated by Marc-Olivier Wahler, Artistic Director of SI
-and-
LIQUID CONCRETE / ERIC HATTAN
with Zoe Leonard in the Lounge. Michel François in the Library and
Eddie
Chu in the Lobby
Jan 14 – Feb 15, 2003 / reception Jan 14, 6-8 pm
at Swiss Institute – Contemporary Art / 495 Broadway, 3rd Floor / 212 925 2035
LIQUID SKY / FRAC BOURGOGNE / DIJON (F)
In the exhibition LIQUID SKY, twenty-four cars are overturned and
meticulously parked, one next to the other. Walking on the new floor,
formed by the chassis, or through the upside-down interiors of the cars,
we feel as though the world has been turned on its head. Alone in the
next
room, lit like twilight; a sleepwalker seems to be lost. The deafening
buzz of a helicopter tears through the space every 15 minutes.
How far can we stretch reality until it breaks? How many layers can
we
add on to reality before it collapses?
These questions are at the heart of LIQUID SKY, a group exhibition and
the
first installment in a series of projects organized by Marc-Olivier
Wahler
about the elasticity of the real.
The second exhibition in the series will be held at the Swiss Institute-Contemporary art in New York:
EXTRA, opening March 5, 2003.
LIQUID CONCRETE / SWISS INSTITUTE – CONTEMPORARY ART / NEW YORK,
NY
“Every day, I am astonished anew by the straightforward way cats
change
direction and by how life continues on its way while producing the most
vivid images at the same time. On walks through the city, a small video
camera is an ideal notebook.” –Eric Hattan
Taking the incidental as subject matter, the work of Hattan, Leonard and
François, introduces a new preoccupation at the SI: looking at what
happens in the time and space “between”, so that this
exhibition is
portrayed as a sort of intermission. This theme of intermission or
entr’acte will recur unexpectedly in the SI’s programming
this year,
challenging the accepted notion of an exhibition having defined
beginning
and end points. The repetition and incidental beauty of the works in
LIQUID CONCRETE will serve as a kind of trailer, introducing the idea
that
exhibitions do not begin or end, but rather flow and linger.