theanyspacewhatever

Contemporary artist installations

Ten contemporary artists invited by the Guggenheim to collectively formulate an exhibition of individual site-specific installations of new, self-reflexive work for the Frank Lloyd Wright Rotunda. Artists include Angela Bulloch, Marizio Cattelan, Liam Gillick, Carsten Holler, Pierre Huyghe, Jorge Pardo, Philippe Parreno and Rirkrit Tiravanija.

Art Exhibition previously on at The Solomon R. Guggenheim Museum in New York, United States.
From Friday 24 October 2008 to Wednesday 07 January 2009

Daddy Daddy, 2008 image

Published by Solomon R Guggenheim Museum, NY on Monday 27 April 2009.
Contact the publisher.

During the 1990s a number of artists claimed the exhibition as their medium. Working independently or in various collaborative constellations, they eschewed the individual object in favor of the exhibition environment as a dynamic arena, ever expanding its physical and temporal parameters. For these artists, an exhibition can comprise a film, a novel, a shared meal, a social space, a performance, or a journey. Using the museum as a springboard for work that reaches beyond the visual arts, their work often commingles with other disciplines such as architecture, design, and theater, engaging directly with the vicissitudes of everyday life to offer subtle moments of transformation.

What is most striking about this loose affiliation of artists, each of whom emerged during the early 1990s and now boasts strong, independent careers, is that they periodically and randomly
join forces to create a variety of projects ranging from co-directing films, to purchasing the copyright for a Japanese Manga character and franchising her image, to initiating a land reclamation project in rural Thailand. The Guggenheim Museum has extended an invitation to a core group of these artists—Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno, and Rirkrit Tiravanija—to collectively formulate a scenario for an exhibition, one that will reflect and articulate the unique nature of their practice.

Organized by the museum’s Chief Curator, Nancy Spector, in close collaboration with the artists, the exhibition will seek to present
a genealogy of their shared history through a site-specific installation of new, often self-reflexive work created on the occasion of this project.

This exhibition is sponsored by HUGO BOSS.

Additional support is provided by the Waldorf-Astoria Collection; The Andy Warhol Foundation for the Visual Arts; Etant donnés: The French-American Fund for Contemporary Art, a program of FACE; and The Grand Marnier Foundation. The Guggenheim Museum gratefully acknowledges the Leadership Committee for
theanyspacewhatever.

The planning process began in the fall of 2004 and through a series of regular, open-ended discussions, the conceptual structure of the exhibition was determined. Instead of producing one, jointly created meta-project for the show, the artists have chosen to each produce an individual, site-specific work or selection of works for the museum’s Frank Lloyd Wright rotunda.

In many cases, their projects are retrospective in nature, capturing their own individual histories and reflecting on their past collaborations with various members of the group, while leaving
open the possibility of realizing new ones during the run of the show. The exhibition will exist in both space and time; many of the works on view will reveal themselves sequentially and others will change throughout the duration of the project. Performances and film programs will form an integral part of the installation.

The Exhibition’s Title
Suggested by Liam Gillick, the term “any-space-whatever” is used by French philosopher Gilles Deleuze to describe a cinematic trope of essential heterogeneity—a “singular space” in the film defined by multiple perspectives in which linkages among constituent parts may be made in an infinite number of ways. Therefore, the “any-space-whatever” is a filmic realm that represents a “locus of the possible.” In its application as an exhibition title, the term suggests the idea of a coherent space comprising multiple and shifting views that nevertheless coalesce to invoke the idea of pure potentiality.

The Installation theanyspacewhatever will be the first large-scale exhibition in the United States to examine the dynamic interchange among this core group of artists, a many-sided conversation that helped shape the cultural landscape of the past two decades. The artists will each contribute an individual project creating simultaneous, coexisting layers that will intersect and overlap in the
museum’s spiraling rotunda.

The following is a partial list of projected works, which may expand, evolve or change during the ongoing preparations for the exhibition:

Angela Bulloch (b. 1966, Rainy River, Ontario, Canada. Lives and works in Berlin) will transform the museum’s ceiling into a surface studded with LED constellations. A disk of light will be inserted into the framework of the rotunda’s skylight to create the illusion of a portal into the night sky.

Maurizio Cattelan (b. 1960, Padua, Italy. Lives and works in New York City) will install a new sculpture in the fountain of the museum’s Frank Lloyd Wright rotunda.

Liam Gillick (b. 1964, Aylesbury, England. Lives and works in New York City and London) plans to intervene in the museum’s signage and visitor service systems, including directions, didactics, and seating, subtly re-orientating visitors’ experience of the space and the exhibition itself.

Dominique Gonzalez-Foerster (b. 1965, Strasbourg, France. Lives and works in Paris and Rio de Janeiro) will exhibit Promenade (2007), a seven-channel sound installation that will “tropicalize” one of the ramps of the rotunda. In collaboration with Ari Benjamin Meyers, she will also present a live orchestral performance in the museum’s Peter B. Lewis Theater, on an ongoing basis during the run of the exhibition. This project is an elaboration of the work she
presented in Il Tempo del Postino, an experimental, time-based “group show” organized by Philippe Parreno and Hans Ulrich Obrist for the Manchester opera house, as part of the Manchester International Festival in July of 2007.

Douglas Gordon (b. 1966, Glasgow, Scotland. Lives and works in New York City, Glasgow, and Berlin) will exhibit a broad range of his text pieces, some in reverse, in a stylized “rewind” of his career. His iconic video work 24 Hour Psycho, (1993) – a frame-by-frame elongation of Alfred Hitchcock’s 1960 masterpiece lasting 24 hours – will be split and doubled in the two-screen installation of 24 hour psycho back and forth and to and fro (2008) for which the museum will remain open to the public for the full duration of the running time at least three times during the show.

Carsten Höller (b. 1961, Brussels, Belgium. Lives and works in Stockholm) is creating an operative, full-service hotel room in the rotunda, which would periodically host guests overnight at the museum. The Revolving Hotel Room consists of 3 superimposed turning glass discs mounted onto a fourth one which also turns at very slow speed. It is equipped with all the comforts expected of a hotel room, with sleeping, working, and dressing areas. The guests will have access to the exhibition when no other visitors are present, in addition to the unique experience of sleeping within the museum. The room will be on view during museum hours. Accompanying this will be Krutikow’s Flying City Revolving, a transparent construction
based upon Russian architect Georgii Krutikow’s 1928 utopian vision of a flying city, where people would live and work, returning to Earth only for recreation. Installed on the roof of the museum, the model and the skyline in the background will be viewed by video transmission, creating a window to the outside world. The Revolving Hotel Room, by Carsten Höller, has been made possible by The Waldorf-Astoria Collection.

Jorge Pardo (b. 1963, Havana, Cuba. Lives and works in Los Angeles) will present a series of booth showcasing silk-screened prints created by the other artists participating in the show, which will be produced by a press he is launching in his studio in collaboration with master printer Christian Zickler.

Philippe Parreno (b.1964 Oran, Algeria. Lives and works in Paris) will install an illuminated movie marquee outside the museum’s front entrance. In addition, he is producing an audio guide describing the collaborative projects that have shaped the history of this group of artists, allowing these works to have an indirect presence in the exhibition. There will be specially designed seating areas conceived by Liam Gillick where visitors can listen to the recording.

Rirkrit Tiravanija (b. 1961, Buenos Aires, Argentina. Lives and works in New York City, Berlin and Bangkok) is creating a documentary film that will provide a perspective on the art of the 1990s by interviewing the circle of friends and artists he was associated with throughout the decade. Called CHEW THE FAT, this feature-length film will comprise in-depth interviews with all the artists in the exhibition and others. Videos from the project will be shown on monitors on the ramps of the rotunda. An edited version of the film will premiere in the Peter B. Lewis Theater and will be screened regularly in the New Media Theater throughout the run of the
exhibition.

Catalogue
The exhibition will be accompanied by a fully illustrated catalogue featuring over 30 texts by scholars, critics, and curators, most of whom have shared in the artists’ individual and collective
histories.