… move or be moved by some thing
rather than oneself.
Critical Distance Centre for Curators
23 juin au 5 août 2018
Co-commissaires
Florence-Agathe Dubé-Moreau
et Maude Johnson
Artistes
Guillaume Adjutor Provost
Adam Basanta
Adrienne Crossman
Nadège Grebmeier Forget
Graphisme
Sam Mogelonsky
Documentation
Toni Hafkenscheid
Feuillet d’exposition
Catalogue
(FR)
(EN) Critical Distance is pleased to present … move or be moved by some thing rather than oneself., an exhibition that considers curating and choreography as materials and subjects. Bringing together the work of Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget, the exhibition is curated by Florence-Agathe Dubé-Moreau and Maude Johnson. The title, taken from a quote by choreographer Yvonne Rainer, echoes the curators’ desire to question the potentialities of artworks as well as presentation contexts from the position of transdisciplinary instability.
… move or be moved by some thing rather than oneself. examines the intersections between methods of creation and reflection particular to curatorial and choreographic spheres. As part of the ongoing discussion on dance in the museum, this exhibition responds specifically by disengaging from the danced gesture. It gathers artists who, on the one hand, borrow from curatorial and choreographic methodologies; and who, on the other hand, transform the multiple spaces (physical, virtual, social, political, historical, etc.) and temporalities of the gallery.
This exhibition probes at the politics generated or renewed by these two approaches when (re)located together in the gallery space. What performative potentials will emerge from this juxtaposition of the curatorial and the choreographic? Choreography and curating are understood as two transmission systems able to reveal the agency of works as well as of the exhibition structure. Can the analytical tools provided by curating and choreography mutually enhance each other and be used as theoretical frameworks to address the relationships between artworks, exhibition, and publics in a new light?