30 May 2017 2017, 2018, 4543 billion, Bordeaux, CAPC Bordeaux, Ecology, Exhibition, Lucas Ihlein, research, save the date, Xavier Ribas
Xavier Ribas, Chilean Nitrate publicity postcard, c. 1920 from "A History of Detonations", 2013. Courtesy the artist and ProjecteSD, Barcelona; and Lucas Ihlein, "Under Ground", 2010. Courtesy of the artist.
SAVE THE DATEExhibition ‘4.543 billion. The matter of matter’, CAPC musée d'art contemporain de Bordeaux, June 29, 2017–January 7, 2018. Opening: June 29, 2017 (6 pm)With: A.J. Aalders, Lara Almarcegui, Maria Thereza Alves, Félix Arnaudin, Amy Balkin, Alessandro Balteo-Yazbeck in collaboration with Media Farzin, Bernd Becher and Hilla Becher, Étienne Denisse, Hubert Duprat, Giulio Ferrario, Ângela Ferreira, Anne Garde, Ambroise-Louis Garneray, Terence Gower, Rodney Graham, Ilana Halperin (also at the Université de Bordeaux’s zoology department), Marianne Heier, Christina Hemauer and Roman Keller, Lucas Ihlein and Louise Kate Anderson, Jannis Kounellis, Martín Llavaneras, Erlea Maneros Zabala, Nicholas Mangan, Fiona Marron, Alexandra Navratil, Xavier Ribas, Alfred Roll, Amie Siegel, Lucy Skaer, Alfred Smith, Rayyane Tabet, Pierre Théron, Pep Vidal, Alexander Whalley Light, Stuart Whipps (also at the Musée des Beaux-Arts) as well as documents and objects lent by the archives of the CAPC, the Archives Bordeaux Métropole, the Archives départementales de la Gironde, and the geology collection of the UFR Sciences de la Terre et de la Mer, Université de Bordeaux.Curated by Latitudes
With contributions from more than 30 artists, “4.543 billion. The matter of matter” is a major exhibition that addresses works of art, collections and cultural histories in relation to ecological processes and a geological scale of time. It presents a continuum of materials and temporal landscapes – films, works on paper, photographs, sculptures, documents, and other meaningful things – and springs from the CAPC building’s former life as a warehouse for colonial commodities whose limestone walls were once deep in the ground and whose wooden beams were once part of a forest.A central proposal of the exhibition is that works of art are part of geophysical history as much as art history. “4.543 billion” attempts to take into account both a micro-local and a planetary perspective, and to rethink some of the histories of art as fragments of broader narratives about the Earth and how our place in it has been represented. What is at stake when art and museums take on greater temporal and material awareness? How might they move beyond a spatial framework of “think globally, act locally”, to “think historically, act geologically”?
Collections are accumulations of real physical matter in time as well as of ideas, decisions, fashions, knowledge, and use. Likewise minerals and organic matter might be regarded as both cultural evidence and archival storage media. This exhibition takes a situated view of the past that resists an undifferentiated narrative in which modernity in general is at fault for global ecological disarray, or humanity in an invariably abstract sense must take responsibility.Accordingly, the artists included instead often address the specific roles and purposeful effects of individuals, practices, states or corporations in an account of how mineral agents and organic processes have intertwined with and underpinned culture. Marianne Heier’s contribution, for example, documents a project addressing the decisive roll North Sea oil has played in shaping art and culture in Norway. Rayyane Tabet’s works deal sculpturally with the legacy of the Trans-Arabian Pipe Line, a joint venture by three American oil companies that came together in 1946 to construct an pipeline from Saudi Arabia to the Mediterranean. Incorporating a fragment of Breccia Pernice marble from the lobby of Trump Tower, Dynasty (2017) by Amie Siegel weaves Italian geology into the political turmoil of the present.
Several of the more documentary projects on display (including those by Alessandro Balteo Yazbeck and Terence Gower) trace the relationships between Modern art, the museum, and wealth created through extractive industry, combining approaches framed by Earth sciences with colonial history, sociology and political reportage. Yet other works take a more atmospheric, filmic, sculptural or graphic approach to extraction, economy, energy and global exchange, whether orbiting around sunlight, forests, synthetic materials derived from fossil fuels (a subject addressed by Alexandra Navratil), or the services and substances entailed in buildings that display art (as seen through the work of Lucas Ihlein and Lara Almarcegui).
In addition to two new projects in development for the occasion (by Christina Hemauer & Roman Keller and Ilana Halperin), the exhibition will include many works kindly lent by the artists and international galleries, as well as those from the CAPC collection and its archives. Loans from Bordeaux institutions include those from the Archives Bordeaux Métropole, the Archives départementales de la Gironde, the Musée des Beaux-Arts, the Musée d’Aquitaine and the geology collection of the UFR Sciences de la Terre et de la Mer, Université de Bordeaux.
Located at opposite ends of the galleries will be two imposing works that bookend the exhibition conceptually as well as physically. Originally made for CAPC in 1985, Jannis Kounellis’s nine-metre-long Sans titre is a slab of steel draped with coffee sacks that spits flames. On the other side, Ancient Lights (2015) is a two-screen video installation by Nicholas Mangan that is powered by an off-grid solar system with panels on the roof of the CAPC building. With sections filmed at the Laboratory of Tree-Ring Research, University of Arizona, and a salt-storage solar plant near Seville, Mangan’s looped videos speculates on the ideology and politics of energy.
Several works by Ângela Ferreira also link diverse histories: those of the Cullinan Diamond Mine in South Africa, the source of one of the largest gems ever found, and the Chislehurst Caves in South East London, a crucible of counter-culture in the 1960s. In terms of an exploration of the underground – in this case with a sociological dimension – one could also mention All surface expectations disappear with depth (2010) a three-screen video work by Fiona Marron that juxtaposes text from a 1954 field report on working conditions in an American gypsum mine with footage from present-day excavation in Ireland.Share:
#4543billion @LTTDS @CAPCmusee @paysagesbx17‘4.543 billion’ is the contribution of the CAPC musée to the cultural season Paysages Bordeaux 2017. Within the exhibition framework, Latitudes will lead the month-long residency programme ‘Geologic Time’ at Banff Centre for Arts and Creativity, Alberta, Canada, in September–October 2017. RELATED CONTENT:
27 Jan 2015 2015, Bordeaux, CAPC Bordeaux, Exhibition, Jorge Satorre, Mariana Castillo Deball, report, Sean Lynch, travel, Wendelien van Oldenborgh
Views of Franz Erhard Walther's show "Le Corps décide" from CAPC's mezzanine.
The exhibition 'Franz Erhard Walther: Le Corps décide' was initiated by WIELS Centre d’Art Contemporain, in Brussels – see a video of its iteration here – and has been co-produced together with CAPC musée d'art contemporain in Bordeaux, alongside The Franz Erhard Walther Foundation. The exhibition is accompanied by a beautiful publication that includes brightly colored pop up shapes that spread throughout the book.
From Wiels' website... "Franz Erhard Walther’s exhibition offers an in-depth look at an influential German artist whose pioneering work straddles minimalist sculpture, conceptual art, abstract painting, and performance all while positing fundamental questions about the conventional idea of the artwork as an immutable, obdurate pedestal or wall-bound thing. Bringing together pivotal works made between the 1950s and the present, this exhibition focuses on Walther’s ability to transform notions of object-hood and perception through drawings, paintings, fabric sculptures, participatory forms, language-based works, photographic documentation and archival material."
On the second floor, CAPC just opened 'Ce qui ne sert pas s’oublie' (What Cannot be Used is Forgotten) (22 January–3 May 2015) a group show curated by Mexico-based Colombian-born curator Catalina Lozano, that includes works by Mathieu K. Abonnenc, Sven Augustijnen, Mariana Castillo Deball, Sean Lynch, Pauline M’Barek, Museo Comunitario del Valle de Xico, Wendelien van Oldenborgh, Uriel Orlow, Beatriz Santiago Muñoz and Jorge Satorre.
The exhibition "deals with the mutating statuses of objects in relation to the possible historical narratives, especially those related to colonial past an present and the layers of cultural, spiritual and identity production that stem from them. Objects carry a wealth of immaterial aspects in and around their materiality, constituted by means of the relations they form with others, both human and non-human... This exhibition seeks to understand how our relation to the material world entails endless processes of assimilation, acculturation, re-appropriation, ritualisation which in their complexity whiteness and embody the historical binds in which they are caught." [this and following quotations describing each work are taken from the exhibition leaflet].
The exhibition is accompanied by a French/Spanish publication (Les Presses du Réel, 2015) with contributions by Mathieu K. Abonnenc, Mariana Castillo Deball, Catalina Lozano, Beatriz Santiago Muñoz and Jorge Satorre.
Sean Lynch (1978, Ireland), 'A blog-by-blow account of stone-carving in Oxford', (2014) an installation composed of photographs, sculptures and a video projection "exploring the oeuvre of nineteenth-century stone-carvers John and James O’Shea, who carved monkeys, cats, owls and parrots on buildings in Oxford and Dublin."
The first room of the exhibition featured 'Killing Pots' (2013–14), a series of sculptural works by Jorge Satorre (1979, Mexico). Information about these pieces can be found in this extensive text by curator Caterina Riva.
Sean Lynch, 'A blog-by-blow account of stone-carving in Oxford' (2014). (Left) 'Nocturne' (2015) a video by Beatriz Santiago Muñoz (1972, Puerto Rico); (right) Mathieu K. Abonnenc (1977, French Guyana) 'Sas titre (des corps entassés'), (2012) and 'Names and surnames' (2012-13). (Left) Sven Augustijnen (1970, Belgium) series of photographs 'L'Histoire Belge' (2007) "question the monumentality of Belgium's history and any optimistic relation to its past, including its colonial incursions in Africa"; (right) 'Nocturne' (2015) a video by Beatriz Santiago Muñoz (1972, Puerto Rico) focusing on syncretic religions from the Caribbean, namely Haitian Vodou, characterised by the flexibility they show towards drastic change, be it geographical, social, material or natural". General view of the exhibition. (Right wall) Museo Comunitario del Valle de Xico (Community Museum of the Xico Valley), a community organisation founded in 1996 "entrusted with the safeguard and display of pre-colonial remains found by the neighbours of the locality over the past few decades."
(Above) Detail of Mariana Castillo Deball (1975, Mexico) "Le Problème de Molyneux" (2001) "addressing the immediacy of experiencing an object without seeing it and the subjective construction of its image".
(Above) Wendelien van Oldenborgh (1972, The Netherlands), "La Javaise" (2012). "Shot in the former Colonial Institute in Amsterdam, explores the links between colonialism and globalisation through the example of Vlisco, a Dutch firm producing textiles for the African market."
The show closes with two works produced in 2007 by Uriel Orlow (1973, Switzerland): "Lost Wax" and "A Very Fine Cast (110 Years)". The first deals with the production of brass-casting artifacts in Benin City, Nigeria, produced via this already out of use technique. The latter (below) is a series of 28 engravings displaying descriptions of artifacts from museum cataloging systems, revealing the racist and colonial narratives that lie within the looted objects that are now part of European museum collections.
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