Reassembly
with:
Adel Abidin Iraq / Finland / Jordan ), G Douglas Barrett (USA), Sari Carel (Israel / USA), Emma Dusong (France), Dora Economou ( Greece), Francesco Gagliardi (Italy / Canada), Giorgos Koumendakis (Greece), Alyssa Moxley (USA / Greece), Melody Nixon (New Zealand / USA), Lena Platonos (Greece), Tao G. Vrhovec Sambolec (Slovenia / Netherlands), Raphael Sbrzesny (Germany), Petros Touloudis (Greece), Samson Young (Hong Kong), Hong-Kai Wang (Taiwan)
Curated by: G Douglas Barrett, Petros Touloudis
Duration: July 5 – October 31, 2017
Organized by:
Tinos Quarry Platform in collaboration with the Cultural Foundation of Tinos
Venue:
Cultural Foundation of Tinos, Tinos, Cyclades, Greece
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Raphael Sbrzesny, Castel Volturno (2010),video, 4:25 min
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Reassembly Exhibition View, Economou, Sambolec
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Tao G. Vrhovec Sambolec, Reading Stanley Brouwn (2015-16), book, modified metronome, table
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Reassembly Exhibition View, Sambolec, Economou, Barrett, Young
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Francesco Gagliardi, Translation #6: Shuang Shuang Yan (2009), video, 48:34 min
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Adel Abidin, Three Love Songs (2010), We Still Have the Patience, Father of Two Lions, Enter It! (video, 9:48)
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Samson Young, Muted Situations (2014), text score (not shown), performance, two videos, Muted Classical Quartet, video, 17:10 min. Muted Lion Dance, video, 7:21 min
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Hong-Kai Wang, The Broken Orchestra (2007), multi-channel sound installation
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Emma Dusong, Ta Voix (2013), pillows, headphones, ipod, photos
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Alyssa Moxley, Sound Entangled Spaces (2017), performance, sound installation
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Reasembly Exhibition View, Economou, Nixon, Touloudis
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Melody Nixon, Alien #059 ☐☐☐ (2017), performance, text, installation
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Melody Nixon, Alien #059 ☐☐☐ (2017), performance, text, installation
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Sari Carel, Migration: Earth and Sky (2017), Brief no. 8 (Sitting Mat); Brief no. 9 (An Instrument for Cleaning); Brief no. 12 (External Wall), Oil on wood, photograph, watercolor, pigment, and pencil on paper, handmade rope
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Sari Carel, Migration: Earth and Sky (2017), Brief no. 8 (Sitting Mat); Brief no. 9 (An Instrument for Cleaning); Brief no. 12 (External Wall), Oil on wood, photograph, watercolor, pigment, and pencil on paper, handmade rope
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Sari Carel, Migration: Earth and Sky (2017), Brief no. 8 (Sitting Mat); Brief no. 9 (An Instrument for Cleaning); Brief no. 12 (External Wall), Oil on wood, photograph, watercolor, pigment, and pencil on paper, handmade rope
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Sari Carel, Migration: Earth and Sky (2017), Brief no. 8 (Sitting Mat); Brief no. 9 (An Instrument for Cleaning); Brief no. 12 (External Wall), Oil on wood, photograph, watercolor, pigment, and pencil on paper, handmade rope
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Lena Platonos, Gallop (1985), electronic music album, video, 33:16 min
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Reassembly Exhibition View, Economou, Sambolec, Gagliardi, Dusong, Platonos
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Dora Economou, Her Greatest Misses (2017), paper (variable dimensions)
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Dora Economou, Her Greatest Misses (2017), paper (variable dimensions)
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G Douglas Barrett, What is the Sound of One Flag Burning? (2017), performance, video (4:09 min.), vinyl record
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Giorgos Koumendakis, Two Poems (1980), graphic score
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Giorgos Koumendakis, Two Poems (1980), graphic score
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Petros Touloudis, A Study for “Mediterranean Desert” (2012), video, 10:50 min
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The free movement of bodies and objects once considered critical for the smooth functioning of contemporary art now appears increasingly uncertain in an era marked by new forms of nationalism, xenophobia, and economic isolationism. Indeed, many artists working in this environment have found it difficult or impossible to cross once unquestionably open borders, or to ship works to and from exhibitions held across a requisitely international stage. Responding to this crisis, Reassembly brings the work of artists from four continents to the Greek island of Tinos through a collaboration between artist, composer, and theorist G Douglas Barrett, artist Petros Touloudis, the Tinos Quarry Platform, and the Cultural Foundation of Tinos.
The artists included in this exhibition incorporate themes of transnationalism and globality in works made through a variety of digitally portable media (video, photography, sound, text) and through practices of scoring, notating, and scripting that formally relate to the musical score. Deracinated from music, the score nevertheless suggests, in this instance, an ability to cross spatial and temporal boundaries through its virtual or immaterial status. Other precedents for these intermedial scripts and instructions can be found in the “event scores” that emerged alongside conceptual art and the “dematerialized” practices of the 1960s and 70s. Here these forms point not only to a formal fluidity between media, but also broadly reflect a contemporary state of hyperconnected global isolation.
The artists featured in Reassembly draw upon music and various digital (and electronic and analog) media in projects that traverse and transgress national borders, cultural boundaries, linguistic delimitations, temporal markers, and other lines of demarcation. Yet rather than converging on stable definitions of terms like music and media , formally these artworks share with their content a sense of openness and fluidity. Nevertheless these artists engage a number of distinct yet interrelated fields: art and music history, ethnomusicology, urban studies, cultural anthropology, postcolonial studies, and continental philosophy. Together their work speaks to the issues of immigration, spatial mobility, national identity, political economy, gender, sexuality, and cultural hybridity through a range of artistic methodologies.
Photos: by TQP, images copyright and courtesy of the artists and Cultural Foundation of Tinos
Designer: wearestillbb.com