Abstract
Twelve Museums is a resin sculpture and twelve drawings that capture the experience of Michael Gi;ll. Gill had been the producer of Kenneth Clark's seminal 1970s film, Civilisation. Gill now has dementia and, via a collaboration funded by Age Concern Kensington and Chelsea in 2002, Shaw spent 6 weeks visiting Gill and developing the works. They were exhibited in The Serpentine Gallery, Clore Gallery in 2002.. This 2024 version reframes the works in a contemporary setting, curated by Ar/Ge Kunst in Bolzano. Are/Ge Kunst invited Shaw following their access of the work in the book 'From Studio to Situation (2004) ed Claire Doherty. Their exhibition text defines the concept of the show as follows: Arbeitsgemeinschaft (working group): Noor Abed (PS), Noor Abuarafeh (PS), Anna Boghiguian (EG), Cristian Chironi (IT), Muna Mussie (ER/IT), Masatoshi Noguchi (JP), Abdul Sharif Oluwafemi Baruwa (UK/IT), Bea Orlandi (IT), Adrian Paci (AL/IT), Moira Ricci (IT), Jessica Russo (IT), Becky Shaw (UK), Cesare Viel (IT).
“Before an aneurysm wiped out my memory,” writes Rosalind Krauss in Under Blue Cup, “I was a writer and art critic.” During the process of rebuilding her memory in the wake of trauma, Krauss realizes that she has forgotten everything, but if you remember who you are, you can actually learn to remember everything.
In a historical moment of trauma and erasure, of violence and humiliation, of absence and forgetting, the imaginative act of memory and its re-creation becomes an act of possible resistance. Ar/Ge Kunst presents a group exhibition about everything that can be imagined, orchestrated and acted out, when we strive to recall what we no longer remember.
What is lost is manifold: some people have lost their family, some their land, some their roots, some their affections, some a love, while some no longer have anything material left. In the epidemic of memories (facilitated by digital media), only their rewriting survives, which once exhumed, have the chance to come back to life. But their exhumation is necessarily performative and involves an act which itself subverts the rules of remembering.
The exhibition brings together people who, in the creation of the artistic act, bring out certain echoes from the past, present and future, making them part of a unique time, and exercising the political and salvific power of the reconstruction process.
“Before an aneurysm wiped out my memory,” writes Rosalind Krauss in Under Blue Cup, “I was a writer and art critic.” During the process of rebuilding her memory in the wake of trauma, Krauss realizes that she has forgotten everything, but if you remember who you are, you can actually learn to remember everything.
In a historical moment of trauma and erasure, of violence and humiliation, of absence and forgetting, the imaginative act of memory and its re-creation becomes an act of possible resistance. Ar/Ge Kunst presents a group exhibition about everything that can be imagined, orchestrated and acted out, when we strive to recall what we no longer remember.
What is lost is manifold: some people have lost their family, some their land, some their roots, some their affections, some a love, while some no longer have anything material left. In the epidemic of memories (facilitated by digital media), only their rewriting survives, which once exhumed, have the chance to come back to life. But their exhumation is necessarily performative and involves an act which itself subverts the rules of remembering.
The exhibition brings together people who, in the creation of the artistic act, bring out certain echoes from the past, present and future, making them part of a unique time, and exercising the political and salvific power of the reconstruction process.
| Original language | English |
|---|---|
| Place of Publication | Ar/Ge Kunst Gallery Bozano Italy |
| Media of output | Online |
| Size | SCULPTURE and DRAWING |
| Publication status | Published (VoR) - 23 Feb 2024 |
Keywords
- art memory dementia collaboration