Barbara Bloom, ‘Safe’ (1999)
Theaster Gates, ‘Ground Rules (Scrimmage)’ (2015)
Reclaimed wood flooring.
Koenraad Dedobbeleer, ‘Value Is the Quality By Which We Distinguish’ (2014)
Jean-Baptiste Ganne, Untitled (All that Glitters is Gold) (2007)
Installation in the water tank of the roman Villa Medici, 2007.
TAILS (Effet placebo). Between radical criticism of government organisations and simple prostitution the gap can appear extremely small. Pouring the budget that is supposedly attributed to the production of an artwork out onto the ground, would be a way of lowering the legal tender (the sign of value), of spreading it about, immobilising it. Then making it both the subject and the object of the piece(s).
HEADS (Et fait place au beau). Everything will be read as a “fountain-making”. And the multiplication of figures. Of those born from the waters and money of antiquity. Make a hundred thousand Boticellian Venuses glitter under the flow of raindrops from the natural fountain that the water tank at the Villa Medici is, like a hundred thousand wishes impossible to formulate.
Jorge Pardo, ‘Me and my mum’ (1991)
A refabrication of Le Corbusier’s classic chair and loveseat using industrial copper tubing, rather than the polished steel tubes that form the core of the original.