Join the mailing list

Welcome to the online mailing list for David Roberts Art Foundation.

Sign up to receive updates about forthcoming shows, events and other items of interest.

Exhibition: Curators’ Series #4. Studies for an Exhibition. By Mathieu Copeland (7 Apr — 11 Jun 2011)

Exhibition Date:
Add to calendar

An exhibition curated by Mathieu Copeland with works by Elena Bajo, Emma Bjornesparr, Julia Rometti and Victor Costales, Gustav Metzger, Roman Opalka, Karin Sander and Niele Toroni together with a book with contributions by Robert Barry, Jarrod Fowler, Nicolas Garait, Karl Holmqvist, Bethan Huws, David Medalla, Yann Sérandour, Cally Spooner, and Sue Tompkins.

Mathieu Copeland is the fourth guest curator invited by The David Roberts Art Foundation to be part of the Curators’ Series. Copeland’s group exhibition, Studies for an Exhibition, looks at how contemporary artists negotiate the relationship between works and spectators, and between works and the context in which they are exhibited and performed. By collaborating with offsite venues that are public as well as educational spaces for cultural promotion, Copeland will produce an environment that will question the idea of what an exhibition can be and how peripheral structures and strategies can affect and inform the center both in terms of space (The David Roberts Art Foundation) as well as common cultural thought.

The exhibition brings together practices that explore the possibility of immateriality and transient nature of an art object, institutional as well as everyday contexts of its making, exhibiting/performing and consuming. The works in the exhibition range from sculpture, installation and performance and include new pieces especially commissioned for the exhibition. A symposium dedicated to the issues of contemporary exhibition-making will be held in May thus extending curatorial enquiry into the discussion. Mathieu Copeland is editing a publication, titled å Etre Lue//An Exhibition to Hear Read (Volume 3), to accompany the exhibition. It is a compilation of specially commissioned performance scripts by the artists participating in the exhibition and other invited contributors. These scripts will be read out at the same hour every day for the duration of the exhibition.

Mathieu Copeland (b. 1977, lives in London) has been developing a practice seeking to subvert the traditional role of exhibitions and to renew our perceptions. An independent curator, he published ‘Perfect Magazine’ in 2003, and curated – among many others, the exhibitions Expat-Art Enter/EAC, Soundtrack for an Exhibition, Alan Vega’s retrospective and initiated the touring A Spoken Word Exhibition. In 2008, he curated A Choreographed Exhibition at the Kunsthalle in St. Gall, Switzerland, and at the Ferme du Buisson in Noisiel, France. In 2009, he co-curated the exhibition VOIDS, A Retrospective at the Centre Pompidou in Paris and at the Kunsthalle in Bern. He is also the co-editor of the catalogue Vides/Voids. In 2010, he curated The Continuous Exhibition (echo) at the CNEAI, and Une Exposition (du) Sensible (an exhibition of the sensitive) at the Synagogue de Delme, and initiated the series of An Exhibition to Hear Read. He teaches in the Fine Art master’s program at the HEAD–Geneva University of Art and Design, and lectures in numerous universities and art schools. He also releases a collection of artists’ films            on DVD.

Download exhibition leaflet here.

back to Projects
  • Karin Sander 
Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 
White canvas
Courtesy of the artist
    1/28Karin Sander Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 White canvas Courtesy of the artist
  • Exhibition view.
Gustav Metzger, This is Tomorrow, 1956
Image courtesy Luke Banks, 2011
    2/28Exhibition view. Gustav Metzger, This is Tomorrow, 1956 Image courtesy Luke Banks, 2011
  • Exhibition view.
Karin Sander 
Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 
Image courtesy Luke Banks, 2011
    3/28Exhibition view. Karin Sander Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 Image courtesy Luke Banks, 2011
  • Exhibition view.
Karin Sander 
Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 
Courtesy of the artist
Image courtesy Luke Banks, 2011
    4/28Exhibition view. Karin Sander Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 Courtesy of the artist Image courtesy Luke Banks, 2011
  • Exhibition view.
Elena Bajo, Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011. Courtesy of the artist and D T Project, Brussels.
Image courtesy Luke Banks, 2011
    5/28Exhibition view. Elena Bajo, Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011. Courtesy of the artist and D T Project, Brussels. Image courtesy Luke Banks, 2011
  • Exhibition view.
Elena Bajo, Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011; Karin Sander 
Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010.
Image courtesy Luke Banks, 2011
    6/28Exhibition view. Elena Bajo, Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011; Karin Sander Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010. Image courtesy Luke Banks, 2011
  • Exhibition view.
Karin Sander 
Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 
Image courtesy Luke Banks, 2011
    7/28Exhibition view. Karin Sander Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 Image courtesy Luke Banks, 2011
  • Exhibition view.
Karin Sander 
Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 
Image courtesy Luke Banks, 2011
    8/28Exhibition view. Karin Sander Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 Image courtesy Luke Banks, 2011
  • Exhibition view.
An Exhibition to Hear Read/Une Exposition à être lue, Volume 3. Edited by Mathieu Copeland.
Image courtesy Luke Banks, 2011
    9/28Exhibition view. An Exhibition to Hear Read/Une Exposition à être lue, Volume 3. Edited by Mathieu Copeland. Image courtesy Luke Banks, 2011
  • Elena Bajo
Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011 
Mixed media
Courtesy of the artist and D T Project, Brussels.
    10/28Elena Bajo Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011 Mixed media Courtesy of the artist and D T Project, Brussels.
  • Elena Bajo
Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011 
Mixed media
Courtesy of the artist and D T Project, Brussels.
    11/28Elena Bajo Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011 Mixed media Courtesy of the artist and D T Project, Brussels.
  • Exhibition view.
Karin Sander 
Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 
Image courtesy Luke Banks, 2011
    12/28Exhibition view. Karin Sander Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 Image courtesy Luke Banks, 2011
  • Exhibition view.
Karin Sander 
Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 
Image courtesy Luke Banks, 2011
    13/28Exhibition view. Karin Sander Mailed Painting Nr. 60, New York - Stuttgart - Berlin - St. Gallen - Berlin - Düsseldorf - Berlin - London, 2010 Image courtesy Luke Banks, 2011
  • Elena Bajo
Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011 
Mixed media
Courtesy of the artist and D T Project, Brussels.
    14/28Elena Bajo Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011 Mixed media Courtesy of the artist and D T Project, Brussels.
  • Niele Toroni

Quand les empreintes de pinceau n°50 s'affichent sur leurs affiches - Haags Gemeentemuseum, 1994. 

Painted poster, framed
Courtesy of the artist and Gallery Pietro Sparta, Chagny
    15/28Niele Toroni Quand les empreintes de pinceau n°50 s'affichent sur leurs affiches - Haags Gemeentemuseum, 1994. Painted poster, framed Courtesy of the artist and Gallery Pietro Sparta, Chagny
  • Emma Bjornesparr
The Commercial Waste Collection, 2011
Waste
Courtesy of the artist
    16/28Emma Bjornesparr The Commercial Waste Collection, 2011 Waste Courtesy of the artist
  • Emma Bjornesparr
The Commercial Waste Collection, 2011
Waste
Courtesy of the artist
    17/28Emma Bjornesparr The Commercial Waste Collection, 2011 Waste Courtesy of the artist
  • Exhibition view.
John Latham, Paperback Relief, 1962; Emma Bjornesparr, The Commercial Waste Collection, 2011; Roman Opalka, 1965/ 1 - ∞. 
Image courtesy Luke Banks, 2011
    18/28Exhibition view. John Latham, Paperback Relief, 1962; Emma Bjornesparr, The Commercial Waste Collection, 2011; Roman Opalka, 1965/ 1 - ∞. Image courtesy Luke Banks, 2011
  • Exhibition view.
'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. 
Image courtesy Luke Banks, 2011
    19/28Exhibition view. 'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. Image courtesy Luke Banks, 2011
  • Exhibition view.
'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. 
Image Courtesy Luke Banks, 2011
    20/28Exhibition view. 'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. Image Courtesy Luke Banks, 2011
  • Exhibition view.
John Latham, Paperback Relief, 1962; Emma Bjornesparr, The Commercial Waste Collection, 2011;
Image courtesy Luke Banks, 2011
    21/28Exhibition view. John Latham, Paperback Relief, 1962; Emma Bjornesparr, The Commercial Waste Collection, 2011; Image courtesy Luke Banks, 2011
  • Exhibition view.
'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. 
Image courtesy Luke Banks, 2011
    22/28Exhibition view. 'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. Image courtesy Luke Banks, 2011
  • Exhibition view.
'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. 
Image courtesy Luke Banks, 2011
    23/28Exhibition view. 'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. Image courtesy Luke Banks, 2011
  • Exhibition view.
'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. 
Image courtesy Luke Banks, 2011
    24/28Exhibition view. 'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. Image courtesy Luke Banks, 2011
  • Exhibition view.
'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. 
Image courtesy Luke Banks, 2011
    25/28Exhibition view. 'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. Image courtesy Luke Banks, 2011
  • Exhibition view.
'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. 
Image courtesy Luke Banks, 2011
    26/28Exhibition view. 'bootleg' of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art, February - March 1964. Image courtesy Luke Banks, 2011
  • Performance Elena Bajo
    27/28Performance Elena Bajo
  • Performance Elena Bajo
    28/28Performance Elena Bajo