An exhibition curated by Vincent Honoré with works by Danai Anesiadou, Ida Applebroog, Hans Bellmer, Jonathan Binet, Katinka Bock, Trisha Brown, John Cage, Ben Cain, Luis Camnitzer, Martin Creed, Patrizio Di Massimo, Jason Dodge, Morton Feldman, Ryan Gander and Mario Garcia Torres, Laura Gannon, Dora Garcia, David Gorton, Jeppe Hein, Neil Heyde, Pierre Huyghe, Chosil Kil, Lina Lapelyte, Bob Law, Marie Lund, Bruce McLean, Benoît Maire, Babette Mangolte, Kris Martin, Jonathan Monk, Paul Mount, Roman Ondak, Marlo Pascual, Falke Pisano, Manuela Ribadeneira, Pietro Roccasalva, Lorna Simpson, Simon Starling, Adam Thompson, and Lawrence Weiner, etc.
Silent Score by Pierre Huygue opens the third and final movement of A House of Leaves, the inaugural exhibition in our new building. This dense and multi-layered project has enabled us to introduce and develop the major motifs in our programme.
Conceived as a process that would last six months, the exhibition has been structured as a symphony in three movements and an epilogue, each section deriving from the close study of a single key work. The first of these, Echo VIII, a late sculpture by Louise Bourgeois, from 2007, cast in bronze from her jumper, defined the First Movement, in being part body, part abstraction. The Second Movement began with Fuji, an abstract painting by Gerhard Richter, from 1996, which, like many of the artist’s abstract works, was realized through the performative process of erasure. Silent Score, which introduces the Third Movement, is a transcribed performance piece by Pierre Huyghe, originally performed in 1997, and based on a live recording of John Cage’s 4’33’’ , otherwise known as Silence. After the Third Movement, an Epilogue will move the exhibition towards the void, emptying the gallery space to explore its architecture and volume. This movement will not develop from a single artwork; rather, it will gradually reveal the long-term works – special commissions and interventions – inscribed in the building itself.
This project was planned as a continuous dissolve, the exhibition self-organizing internally, proceeding mostly from the artworks and the building themselves. In constant flux, never the same and never entire, composed and completed by its visitors: the museum as deferred action and imaginary space. Our museum is intended to be a productive medium in its own right. By opening with an exhibition structured as a metonymic chain – from body to abstraction, abstraction to performance, performance to volume, volume to site – we hoped to accentuate different aspects of our project for the museum: as structure and collection; as academy; as stage; and lastly, as site.
With the third movement, we are now looking at the museum as a stage. The exhibition assumes a musical state of mind, inspired by the rhythms, choreographies, sequences and repetitions of the artworks, which are like musical instruments (after John Cage) for an institution whose main duty is to dance (after Paul Holdengräber). Not a museum as temple, supermarket, mass media outlet, fun park, or forum: but a museum as a score – free, uncertain, non-productive, and fictive – outside ordinary rules.