“How can we grasp the ungraspable character of passing? How can we grasp the pure conjunction of passing and presence, fleeing and stasis?”
Jean-Luc Nancy
In Renée Green’s third solo exhibition in Lisbon, the artist continues her radical exploration of aesthetic and linguistic forms. Probing questions and forms of being alive, living, inhabitation, space, time and distance, Spacing continues Green’s ongoing examination of cities and people we feel and think with, as well as spaces and places that generate conditions for feeling, thinking and wonder.
Developed for Lumiar Cité, the exhibition Spacing brings together recent works, and premieres Walking in NYL (2016), the latest iteration of a series of films initiated in 1992 with Tracing Lusitania, Green’s durational and accretive project showcasing the artist’s ongoing interests and relationships with the city of Lisbon and the Lusophone world. In Walking in NYL, writing and the varieties of voices it invokes provide a mysterious...passage through the highly sensorial streets of the city of NYL.
At the core of the exhibition resides the film Begin Again, Begin Again (2015), a meditation on propulsive drives of live organisms, including humans; the film is a probing passage through forms of inhabiting, occupying, and myriad sensations and perceptions that flow through the process of staying alive. The architect R.M. Schindler is invoked via his 1912 Manifesto, Modern Architecture: A Program, yet the numbered pronouncements are interrupted by another consciousness’ musings on the strangeness of survival. Questions of configurations, architectures, and spaces emerge in relation to people and subjectivities that exist in the world: What is inherited and what is made, gained, lost, and transmuted through time, amid change and migrations, amid contestation, repetition and difference, or imagined as utopian, even when violent? What efforts do live creatures exert to begin again?
Also present in the exhibition space is Relations (2009), and Green’s Space Poem #5 (Years & Afters) (2015), a group of hanging banners that provide a colorful and contrapunctal “chronomorphic poesy,” a poesy enhanced by a series of letterpress and digital prints; these elements are complemented by a careful selection of the artist’s repertoire of films - Climates and Paradoxes (2005), Come Closer (2008), Endless Dreams and Water Between (2009), and Excess (2009), adding yet another layer to the complex web of associations stimulated by the exhibition.
In Spacing, Renée Green continues to play with variables of time and location, space and things, amongst reflections on relays, delays, movement, exile, migration, displacement and reinvention, all allowing for the contemplation of what arises amid particular combinations in a variety of conditions.
“This technique, this art, this calculated operation, this procedure, this artifice, produces something not with a view to something else or to a use, but with a view to its production alone, its exposition.”
Jean-Luc Nancy
Renée Green lives and works in Cambridge, Massachusetts, and New York. Her work has been widely presented in museums, biennials, and festivals around the world, among them the MAK Center for Art + Architecture at the Schindler House (Los Angeles), Museum of Modern Art (New York), Yerba Buena Center for the Arts (San Francisco), Musée Cantonal des Beaux Arts (Lausanne), Jeu de Paume (Paris), Portikus (Frankfurt), Secession (Vienna), MOCA (Los Angeles), MACBA (Barcelona), Museum Ludwig (Cologne), Museum of Contemporary Art (Chicago), ICA (London), Centre Georges Pompidou (Paris), Manifesta 7 (Trentino) and Documenta 11 (Kassel). A selection of her books includes 'Other Planes of There: Selected Writings' (2014), 'Endless Dreams and Time-Based Streams' (2010), 'Ongoing Becomings (2009), Between and Including' (2001), and 'Shadows and Signals' (2000); Green is also the editor of 'Negotiations in the Contact Zone' (2003), published in English and Portuguese under the auspices of Maumaus. Green’s essays and fiction have appeared in magazines and journals such as Frieze, Transition, October, Texte zur Kunst and Collapse. Renée Green is Professor at the MIT Program in Art, Culture and Technology, School of Architecture and Planning.
Collaboration: Livraria Linha de Sombra, Cinemateca Portuguesa-Museu do Cinema
Support: Câmara Municipal de Lisboa
Lumiar Cité / Maumaus is funded by Governo de Portugal / Ministério da Cultura / Direcção-Geral das Artes.
Imágenes de la Exposición
spacing
Entrada actualizada el el 28 ene de 2016
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