3 July 1913: Unexpectedly Arrested By Two Unidentified Agents From An Unspecified Agency On Unnamed Charges
Counter Space, 03/22/2014 - 05/03/2014
ABOUT
The next solo exhibition with the title «3 July 1913: Unexpectedly Arrested By Two Unidentified Agents From An Unspecified Agency On Unnamed Charges» is dedicated to the work of Paris-based Swiss Artist Vittorio Santoro (*1962).
«In/Voluntary Movement Diagram (Josef K.)» is an installation combining elements of an architectural intervention and a sculptural situation. This new installation occupies a corner section of a room “connecting” two walls to form a sculptural zone or a stage suggestive of potential relations. The work consists of a stretched white electric cable with a certain number of light bulbs attached, which is suspended and fixed on a specific height. The way the cable is installed suggests the spatial equivalent of a closed circuit. Four plywood plates are engraved with a continuous black line spreading across them. The plates are positioned on the floor below the light chain suggesting a low podium onto which one might step. The continuous and labyrinthian black line corresponds to a movement diagram derived from the walking pattern of a person through three adjacent rooms (incidentally, Josef K.’s displacements as described in the first chapter of «The Trial» by Franz Kafka titled «The Arrest»).
The elements of «In/Voluntary Movement Diagram (Josef K.)» might be seen as objects with an enigmatic function. Yet they hint at a use in certain circumscribed and at the same time diversified scenarios. The installation is a machine or situation activating the viewer’s ambiguous wish of reluctant participation. Installations are not only a way to create relationships with objects in space, but to elicit actions through which one attributes, or not, sense to a staged situation otherwise remaining perfectly meaningless. Even to resist, as a viewer, to a specific interpretation of this staging might potentially be subversive. The social environment induces individuals to attach meaning to what one sees, to categorize, to classify and to subsequently consume. Therefore a situation inducing someone’s wish to engage, or to only act in a metaphorical sense, possibly creates an unstable state.
The installation playfully uses some notions of the novel, such as the critique of the unwieldy bureaucratic systems that characterize modern governments, both totalitarian and democratic including the sense of remote and inaccessible authorities. Oddly enough, the novel, written almost 100 years ago, could be a work of today, when one observes how our lives have become tied in with an over-institutionalization. The installation is neither a commentary nor has it the ambition to be an analysis of Kafka’s novel. Rather, it is inspired by some of the latent themes inherent in the story. The installation loosely connects some of them in a suggestive environment. vs_dublin 18 Feb. 2014.
Artist:
Vittorio Santoro (* 1962) lives and works between Paris and Dublin. Recent solo or group exhibitions include:Pourquoi Écrire?, Sobering Galerie, Paris, 2014, Archaeologies of the Future 2, Galerie Campagne Première, Berlin, 2013; Quadrilogy 2:
I Think It Rains, 1a space and Burger Collection, Hong Kong, 2013; Correspondances, Espace culturel Louis Vuitton, Paris, 2013; C'était le contraire d’un voyage /It Was The Opposite of a Voyage, Galerie Jérôme Poggi, Paris, 2012; Vittorio Santoro Filmic Works (screening), Centre Pompidou, Paris, 2012; Owls Move Their Entire Head to Change Views, Fondation Ricard, Paris, 2012; Le Nouveau Festival, Centre Pompidou, Paris, 2012; Ever/Until, Oonagh Young Gallery, Dublin, 2012; Visionaries & Voyeurs, Irish Museum of Modern Art, Dublin, 2011; Que tout le monde vive comme si personne « ne savait », Rosascape, Paris, 2011; The Unbearable Lightness of Being, Yvon Lambert, New York, 2011; Man Leaving Harbour on a Ship (in a Room), La BF15, Lyon, 2010; Annette and Peter Nobel Collection, Kunstmuseum St. Gallen / Museum der Moderne, Salzburg, 2010; Conflicting Tales, Burger Collection, Berlin, 2009; La chambre de Marlow, Galerie Xippas, Paris, 2009; Shifting Identity, CAC, Vilnius / Kunsthaus Zurich, 2008; Three Attempts to Avoid the Inevitable, Les Complices, Zurich, 2008; The Truth About Your Own Tolerance for Cruelty, Cortex Athletico, Bordeaux, 2007; Learn to Read, Tate Modern, London, 2006; Berlin/New York, Kunstmuseum Thun, 2006; It’s All In Your Mind / C’est tout dans ma tête, Yvon Lambert, Project Room, Paris, 2003.
For More Information
The next solo exhibition with the title «3 July 1913: Unexpectedly Arrested By Two Unidentified Agents From An Unspecified Agency On Unnamed Charges» is dedicated to the work of Paris-based Swiss Artist Vittorio Santoro (*1962).
«In/Voluntary Movement Diagram (Josef K.)» is an installation combining elements of an architectural intervention and a sculptural situation. This new installation occupies a corner section of a room “connecting” two walls to form a sculptural zone or a stage suggestive of potential relations. The work consists of a stretched white electric cable with a certain number of light bulbs attached, which is suspended and fixed on a specific height. The way the cable is installed suggests the spatial equivalent of a closed circuit. Four plywood plates are engraved with a continuous black line spreading across them. The plates are positioned on the floor below the light chain suggesting a low podium onto which one might step. The continuous and labyrinthian black line corresponds to a movement diagram derived from the walking pattern of a person through three adjacent rooms (incidentally, Josef K.’s displacements as described in the first chapter of «The Trial» by Franz Kafka titled «The Arrest»).
The elements of «In/Voluntary Movement Diagram (Josef K.)» might be seen as objects with an enigmatic function. Yet they hint at a use in certain circumscribed and at the same time diversified scenarios. The installation is a machine or situation activating the viewer’s ambiguous wish of reluctant participation. Installations are not only a way to create relationships with objects in space, but to elicit actions through which one attributes, or not, sense to a staged situation otherwise remaining perfectly meaningless. Even to resist, as a viewer, to a specific interpretation of this staging might potentially be subversive. The social environment induces individuals to attach meaning to what one sees, to categorize, to classify and to subsequently consume. Therefore a situation inducing someone’s wish to engage, or to only act in a metaphorical sense, possibly creates an unstable state.
The installation playfully uses some notions of the novel, such as the critique of the unwieldy bureaucratic systems that characterize modern governments, both totalitarian and democratic including the sense of remote and inaccessible authorities. Oddly enough, the novel, written almost 100 years ago, could be a work of today, when one observes how our lives have become tied in with an over-institutionalization. The installation is neither a commentary nor has it the ambition to be an analysis of Kafka’s novel. Rather, it is inspired by some of the latent themes inherent in the story. The installation loosely connects some of them in a suggestive environment. vs_dublin 18 Feb. 2014.
Artist:
Vittorio Santoro (* 1962) lives and works between Paris and Dublin. Recent solo or group exhibitions include:Pourquoi Écrire?, Sobering Galerie, Paris, 2014, Archaeologies of the Future 2, Galerie Campagne Première, Berlin, 2013; Quadrilogy 2:
I Think It Rains, 1a space and Burger Collection, Hong Kong, 2013; Correspondances, Espace culturel Louis Vuitton, Paris, 2013; C'était le contraire d’un voyage /It Was The Opposite of a Voyage, Galerie Jérôme Poggi, Paris, 2012; Vittorio Santoro Filmic Works (screening), Centre Pompidou, Paris, 2012; Owls Move Their Entire Head to Change Views, Fondation Ricard, Paris, 2012; Le Nouveau Festival, Centre Pompidou, Paris, 2012; Ever/Until, Oonagh Young Gallery, Dublin, 2012; Visionaries & Voyeurs, Irish Museum of Modern Art, Dublin, 2011; Que tout le monde vive comme si personne « ne savait », Rosascape, Paris, 2011; The Unbearable Lightness of Being, Yvon Lambert, New York, 2011; Man Leaving Harbour on a Ship (in a Room), La BF15, Lyon, 2010; Annette and Peter Nobel Collection, Kunstmuseum St. Gallen / Museum der Moderne, Salzburg, 2010; Conflicting Tales, Burger Collection, Berlin, 2009; La chambre de Marlow, Galerie Xippas, Paris, 2009; Shifting Identity, CAC, Vilnius / Kunsthaus Zurich, 2008; Three Attempts to Avoid the Inevitable, Les Complices, Zurich, 2008; The Truth About Your Own Tolerance for Cruelty, Cortex Athletico, Bordeaux, 2007; Learn to Read, Tate Modern, London, 2006; Berlin/New York, Kunstmuseum Thun, 2006; It’s All In Your Mind / C’est tout dans ma tête, Yvon Lambert, Project Room, Paris, 2003.
