Published in conjunction with Belgian artist Joëlle Tuerlinckx's first American museum exhibitions at The Renaissance Society and New York's Drawing Center, this brilliant book, conceived and designed by the artist, is an artwork in its own right, a project of equal standing with the exhibitions themselves.
For Chicago Studies: Les etants donnes at The Renaissance Society, Tuerlinckx combined video and slide projections, classroom furniture, sculptural elements, and moveable walls into a constantly changing installation whose conceptual identity incorporated the educational, administrative, and exhibition functions of the Society and the University building in which it is housed.
For Drawing Inventory at The Drawing Center, the artist created a constellation of marks, which she measured and arranged in an infinitely additive process that mirrored the institution?s methods of broadening the definition of drawing.
In this book Tuerlinckx applies institutional critique to the various forms of exhibition documentation, from installation photographs to registrar's condition photos, using it as yet another reconfiguration of the materials, forms, and concepts she arranges and rearranges, breaks down and rebuilds, examining the relations between objects, spaces, and people.
In addition to exhibition documentation that redefines the term "exhaustive," the book includes an introduction by curators of the Drawing Center exhibition Catherine de Zegher and Katherine Carl, and essays by Jaleh Mansoor and Michael Newman.
Co-published with The Drawing Center, New York.
For Chicago Studies: Les etants donnes at The Renaissance Society, Tuerlinckx combined video and slide projections, classroom furniture, sculptural elements, and moveable walls into a constantly changing installation whose conceptual identity incorporated the educational, administrative, and exhibition functions of the Society and the University building in which it is housed.
For Drawing Inventory at The Drawing Center, the artist created a constellation of marks, which she measured and arranged in an infinitely additive process that mirrored the institution?s methods of broadening the definition of drawing.
In this book Tuerlinckx applies institutional critique to the various forms of exhibition documentation, from installation photographs to registrar's condition photos, using it as yet another reconfiguration of the materials, forms, and concepts she arranges and rearranges, breaks down and rebuilds, examining the relations between objects, spaces, and people.
In addition to exhibition documentation that redefines the term "exhaustive," the book includes an introduction by curators of the Drawing Center exhibition Catherine de Zegher and Katherine Carl, and essays by Jaleh Mansoor and Michael Newman.
Co-published with The Drawing Center, New York.
