Katerina Šedá

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124,908
Tara McDowell (Ed.)

124,908 by Tara McDowell, with photography by Daro Sulakauri, experiments with how to document exhibitions in an embodied way. It deals with an exhibition that unfolded throughout the postindustrial city of Rustavi in the Republic of Georgia, in conjunction with the 2nd Tbilisi Triennial. The exhibition was titled for Rustavi’s population – 124,908 – and featured works by Xin Cheng, Leone Contini, Eliza Dyball, Clementine Edwards, George Egerton-Warburton, Cevdet Erek, Debris Facility, Emma Fitts, Amy Franceschini, Helen Grogan, Susan Jacobs, Ash Kilmartin, Ieva Misevičiūtė, Virginia Overell, and Kateřina Šedá. Echoing the model of Lucy R. Lippard’s numbers exhibitions from the early 1970s, Tara McDowell and assistant curator Nicholas Tammens invited artists to propose temporary artworks, which were installed in the city center, factory square, museum, theaters, pyramid and zoo, working with local artists, students, and Rustavi residents.

The images within the publication 124,908 were taken by photojournalist Daro Sulakauri over a single day (October 3, 2015) of the exhibition. The fragmented text that intersperses this image narrative reflects the fractured, time-skipping nature of the project’s composition. Lucy R. Lippard has reacted to the project as the “best understood account” of her numbers exhibitions, but 124,908 could also be characterised as facing the impossibilities of re-curation.

Design by Žiga Testen

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1+1+1=3
Robert Macpherson, Manfred Pernice, Katerina Šedá

For curator Trevor Smith, what separates Robert MacPherson, Manfred Pernice, and Katerina Seda is as consequential as what unites them. Representing distinct generations and practices, the output of each emerges from its local culture to reflect the social transformations of our time. Thus, although at first glance the juxtaposition of these artists in the inaugural exhibition of the Culturgest “1 + 1 + 1=3” program may be surprising, careful observation of the works on view justifies Smith’s decision. Contrary to custom, this was not a group show subordinated to a given theme but three solo shows, each independent of the other. Pernice has mounted a new installation; Seda displays variations of a single project, to the extent that all her contributions deal with the same subject; MacPherson presents a vast array of pieces that form a compact anthology of his career

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