10/05 - 14/07, 2012
AN INCOMPLETE HISTORY OF INCOMPLETE WORKS OF ART
Curated by Adam Carr
An Incomplete History of Incomplete Works of Art brings together artworks by both emerging and established artists that are in various ways and in different states incomplete.
Through painting, drawing, sculpture, video and photography, the exhibition looks at the incomplete, and respectively the complete, in connection with the visual arts as well as life at large. It poses questions in regard to whether or not a work of art can ever be complete, and if so by whom, in examining what is to be complete or incomplete.
Throughout the history of art, artwork has commonly been produced and exhibited as a stationary, fixed object, designed with the goal of being preserved for eternity in this condition. Some of the artworks exhibited in An Incomplete History of Incomplete Works of Art however subvert this norm by requiring additional input from other people once they have been exhibited. They request the role-play of viewers, particularly collectors, in a manner that allows them to be assailants, participants and direct accomplices in the making and construction of the work itself, rather than assuming the conventional position of patron or viewer. Considering the context of the gallery, both gallery and exhibition will come to function as a platform to allow this to ensue. While some of the artworks included in the exhibition are incomplete at present in this way, there are those that remain in states of incompletion, leading one to consider that which will always be missing.
Rather than adding to a number of existing explorations of the unrealised or the failed in the visual arts, the focus of An Incomplete History of Incomplete Works of Art firmly remains on the dimension of, and the creative potential in, the incomplete and the complete, and the precipice between the two. The exhibition presents the completed incomplete and the incomplete completed. It positions the audience to reflect on and investigate, how, why and where.
While the title of the exhibition describes the nature of the works on display, it also suggests that the exhibition might be incomplete overall. In this way, the title points to the fact that the incomplete is inherent in almost any exhibition – past, present and future. It is perhaps impossible to present a truly complete exhibition. One might consider numerous other works pertinent for a display, which, for a number of reasons – budgetary, politically and practically among them – cannot be presented.
An Incomplete History of Incomplete Works of Art brings together artworks by both emerging and established artists that are in various ways and in different states incomplete.
Through painting, drawing, sculpture, video and photography, the exhibition looks at the incomplete, and respectively the complete, in connection with the visual arts as well as life at large. It poses questions in regard to whether or not a work of art can ever be complete, and if so by whom, in examining what is to be complete or incomplete.
Throughout the history of art, artwork has commonly been produced and exhibited as a stationary, fixed object, designed with the goal of being preserved for eternity in this condition. Some of the artworks exhibited in An Incomplete History of Incomplete Works of Art however subvert this norm by requiring additional input from other people once they have been exhibited. They request the role-play of viewers, particularly collectors, in a manner that allows them to be assailants, participants and direct accomplices in the making and construction of the work itself, rather than assuming the conventional position of patron or viewer. Considering the context of the gallery, both gallery and exhibition will come to function as a platform to allow this to ensue. While some of the artworks included in the exhibition are incomplete at present in this way, there are those that remain in states of incompletion, leading one to consider that which will always be missing.
Rather than adding to a number of existing explorations of the unrealised or the failed in the visual arts, the focus of An Incomplete History of Incomplete Works of Art firmly remains on the dimension of, and the creative potential in, the incomplete and the complete, and the precipice between the two. The exhibition presents the completed incomplete and the incomplete completed. It positions the audience to reflect on and investigate, how, why and where.
While the title of the exhibition describes the nature of the works on display, it also suggests that the exhibition might be incomplete overall. In this way, the title points to the fact that the incomplete is inherent in almost any exhibition – past, present and future. It is perhaps impossible to present a truly complete exhibition. One might consider numerous other works pertinent for a display, which, for a number of reasons – budgetary, politically and practically among them – cannot be presented.
- Alek O., 27 November 2011, London, 2012Silkscreen on paper
100×70 cm - Christian Burnoski, Balloons: One Every Five Days, 2010Helium, balloons, stone, twine
90×90×185 cm
Ph. Roman März - Claire Fontaine, Passe-partout, (München), http://www.lysator.liu.se/mit-guide/mit-guide.html, http://www.hackerethic.org, http://www.lockpicks.com, http://www.lockpicking101.com, http://www.gregmiller.net/locks/makelockpicks.html, 2009Hacksaw blades, bicycle spokes, key-rings, paper-clips, allen keys, safety pins and hair pins
- Kris Marin, Life after death, 2006
Printing on paper
70×50 cm - Nina Beier, The Blues, 2012Sun-faded poster, window glass, frame
30×26 cm - Nina Beier, The Blues, 2012Sun-faded poster, window glass, frame
59×47 cm - Nina Beier & Marie Lund, 42, 2008
14 dice
Dimensions variable
Courtesy the Artist and Laura Bartlett Gallery, London - Simon Dybbroe Møller, O, 2011Inkjet print, Tecco Ultraglass Film
118,6×84 cm - Jonathan Monk, Tea with the Queen, 2012
Painted cups - Jouzas Lavivys, A single-use camera containing a film which is not yet fully exposed, 2003A disposable camera
- Liudvikas Buklys, Eyebrow piece, 2012
Wall sticker
Dimensions variable - 2009_Untitled (tree top project)_300dpiPolaroid photography
10,5×9 cm each - Ron Terada, Have you seen this Kitten?, 2008
Poster insert for Defile (2003) & Fillip (2008), offset print on paper - Ryan Gander, Let’s make this happen, 2012
Partially assembled jigsaw
85×85 cm - Mandla Reuter, The Gate, 2012
Boulder, bag, various items
45×67×42 cm - Jonathan Monk, Mirror (fade/repeat) I, 2012
Silver plated steel
49,5×40 cm - Sol Lewitt, Incomplete open cube drawing, 1974
Pencil and ink on paper
30×30 cm each - Mandla Reuter, The Garden, 2012
Framed baryth print
15×19,5 cm - Jonathan Monk, Meeting #99, 2012
Vinyl
Dimensions variable - Pierre Bismuth, Yasmine, 2001 and Francine, 2001Collage on magazine, framed
36×28 cm each