Duplicitous Storytellers is an exhibition whose point of departure posits rewriting as a conceptual strategy. A repositioning of the notion of the author— the product long-standing research on the construction of genre and figures, as well as historical and artistic movements—resounds in a dialogue among exhibition pieces.
Verónica Gerber, Invisible_Indecible
Verónica Gerber, Invisible_Indecible [detail]
The desire to inhabit an alternate space—be it physical, temporal or in the creative psyche of the Other—acts as a catalyst within the work of invited artists, and is simultaneously used as a constant provocation to explore the construction and transmission of a number of different narratives. In a first approximation, investigation processes each piece carries out suggest an invitation to reflect on art’s configuration as an economic, political and historical system. To the same degree, this desire consolidates mechanisms that are brought to bear on the previous corpus of artworks that has influenced those currently on display, at the same time they make manifest artistic practice’s permeability.
Stephen Prina, Exquisite Corpse: The Complete Paintings of Manet 189 of 556. Courses au Bois de Boulogne (Racing at the Bois de Boulogne) 1872. John Hay Whitney. Collection, New York. John Hay Whitney Collection, New York, January 1st, 1998. [right]. Pablo Sigg, Inventario [right]
Far from any desire to reinterpret specific moments or create possible past or future scenarios, Duplicitous Storytellers takes interest in work that—in addition to its condition as a channel for fictionalization—is presented as an innovative proposal within contemporary art’s archival practices.
Pablo Sigg, 134 Exhibits
Roisin Byrne, Goldenie Brown
- Readings of the Apparently Invisible. An essay on Spectroscopies: Memory and History at the MUAC Mexico City
- Violation at CASA ROTA
- John Stezaker at The Approach