Edited with text by Fionn Meade. Foreword by Olga Viso. Texts by Jordan Carter, Adrienne Edwards, Isla Leaver-Yap, Robert Wiesenberger.
Question the Wall Itself examines ways that interior spaces and décor can be fundamental to the understanding of cultural identity. It showcases 23 international artists who explore the political and social dimensions of interior architecture as well as its complicated relationship to history and their own backgrounds. The featured artists are Jonathas de Andrade, Uri Aran, Nina Beier, Marcel Broodthaers, Tom Burr, Alejandro Cesarco, Marc Camille Chaimowicz, Theaster Gates, Ull Hohn, Janette Laverrière, Louise Lawler, Nick Mauss, Park McArthur, Lucy McKenzie, Shahryar Nashat, Walid Raad, Seth Siegelaub, Paul Sietsema, Florine Stettheimer, Rosemarie Trockel, Cerith Wyn Evans, Danh Vo and Akram Zaatari.
The book and the exhibition it accompanies take as its guiding principle what Marcel Broodthaers termed “esprit décor”: a critique of ideas of nationality, globalization and the space of the institution through constructed interior scenes. Recasting our conception of interior space and design, the featured works exist between art, prop, and set or stage. Espousing this mise-en-scène approach, Question the Wall Itself plugs readers into material that expands the show in the form of book-as-exhibition. It includes an extensive photographic walk-through of the installations, and essays by Jordan Carter, Adrienne Edwards, Isla Leaver-Yap, Fionn Meade, and Robert Wiesenberger, as well as contributions from participating artists.
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Fionn Meade (Ed.)
Edited by Fionn Meade, The Assistants originates as the visual and conceptual companion of the exhibition organized at David Kordansky Gallery, Los Angeles. Featuring original contributions together with rarely seen works, the publication is animated by Uri Aran, Nairy Baghramian, Matthew Brannon, Andrea Büttner, Rosalind Nashashibi, Adrian Piper, Laure Prouvost, Slavs and Tatars, Mierle Laderman Ukeles, and Cathy Wilkes. “The Assistants explores the transitive potential of art, including how artworks can take on attendant guises and play assisting roles, serving as custodians of memory while also producing resistant gestures and deviant substitutions. […] Resigned to respond and generate rather than fix meaning, The Assistants are inalienable and moving within and among us, writes Walter Benjamin, ‘None has a firm place in the world, or firm, inalienable outlines… There is not one that is not either rising or falling, none that is not trading qualities with its enemy or neighbor, none that has not completed its time and yet is unripe, none that is not deeply exhausted and yet is only at the beginning of a long existence.’” – Fionn Meade
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