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No. 101, March 2016 Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V. U . Jan Mot januari – maart – mei – Regentschapsstraat 67 augustus – oktober 1000 Brussel No. 101, maart 2016 Erkenningsnummer P309573 177–178 Jaargang 20 No. 101 rtunity to discuss not only the ogy by Erwin Panofsky but an artunity to discuss not content of the lip-synched also the different strategies of only the content of the conference on iconol using the lecture as lip-synched (advertisement) Did such type of works deserve a different structure than a regular exhibition format? It was the interest in creating a space to dis- cuss ideas more actively than they normally are that brought us to a number of works that will be presented in this program. But, how is this different from say, a public con- 177 ference program, we asked ourselves. After some discussions it became clear, that even Exhibition if it might look like a seminar, this should 15/04-28/05 still be conceived as an exhibition. In it the time and function of often so-called educa- Opening 14/04 tional programs would be blurred, and will 5-8 pm conceive the gallery not solely as a space to exhibit works that might or might not spark a discussion. It is certainly not the first time MARIO GARCIA TORRES that the gallery engages in such activity. The program called Oral Culture which was organized in 2008-09 explored live oral works to be presented in the presence of an NO DOUBT, NATURALLY DRAWN, audience. It is in this spirit that we hope that A situation in which an. Hugo Hop- NON-DETERMINED ping, what we called “a debate interval between academia, art institutions and indi- NODES, NORMALLY DETECTED viduals”. ESL (Esthetics as a Second Lan- guage) was, in practical terms, a migratory NEUTRAL DENSITY. series of one-day solo exhibitions that pre- tended to present, sometimes finished and NEAL DIAMOND NOSE sometimes unfinished works of art as an excuse to discuss them publicly. The desire DOWNED NEAR DARK. to organize this came mainly from our long- ing for crit-classes. We had all been active, NORMAL DELIVERY NOTABLY sometimes in more than one class concur- rently at CalArts and found out that, once DROVE NON-DIRECTIONAL we had left the school, such situations didn’t happen casually in the professional NAVIGATIONAL DISPLAYS arena. Thanks to ESL we managed to debate the work of several artists, some- INTO NORTH DAKOTA. times in the form of an organized debate with the artist, other times as a conversation AND NOT DOCUMENTED between us and the artist while we hung and unhung the presentations. We pretended to NOMINAL DIAMETER NEATLY use the case of the exhibition as a way to think about specific works and about the DIAGRAMMED NON-DATED machinery that it needed to happen. It was indeed a certain interval as it didn’t become NEXT DEGREE NEW DIRECTIONS. an artist space, nor a crit-class, but a casu- ally driven discussion, or a seriously taken Jan Mot chat over cheap beers. Rue de la Régence / All this came to my mind when I started Regentschapsstraat 67 to think with Jan Mot and Julia Wielgus 1000 Brussels, Belgium about the idea of putting in consideration works that had to do with presenting ideas 2 Newspaper Jan Mot Garcia Torres 177 – 178 MEXICO CITY, MAR. 4 – N.D. painting by Mario Garcia Torres being installed by a receptionist at the Hotel Montecarlo in Mexico where On Kawara used to stay and work for long periods at the end of the 1960´s. This location is one of the several venues throughout Mexico City that are part of the exhibition Let’s Walk Together organised by the Tamayo Museum and curated by Sofía Hernández Chong Cuy. Read also page 3. Lt, how is this different from say, a public cuss ideas more actively than they normally ideas more actively than they normally are conference program, we asked ourselves. are that brought us to a number of works that brought us to a number of works that After some discussions it became clear, that that will be presented in this program. But, will be presented in this program. But, how even if it might look like a seminar, this how is this different from say, a public con- is this different from say, a public confer- should still be conceived as an exhibition. ference program, we asked ourselves. After ence program, we asked ourselves. After In it the time and function of often so-called some discussions it became clear, that even some discussions it became clear, that even educational programs would be blurred, if it might look like a seminar, this should if it might look like a seminar, this should and will conceive the gallery not solely as a still be conceived as an exhibition. In it the still be conceived as an exhibition. In it the space to exhibit works that might or might time and function of often so-called educa- time and function of often so-called educa- not spark a discussion. It is certainly not the tional programs would be blurred, and will tional programs would be blurred, and will first time that the gallery engages in such conceive the gallery not solely as a space to conceive the gallery not solely as a space to activity. The program called Oral Cul- exhibit works that might or might not spark exhibit works that might or might not spark ture which was organized in 2008-09 a discussion. It is certainly not the first time a discussion. It is certainly not the first time explored live oral works to be presented in that the gallery engages in such activity. that the gallery engages in such activity. the presence of an audience. It is in this The program called Oral Culture which The program called Oral Culture which spirit that we hope that A situation in which was organized in 2008-09 explored live oral was organized in 2008-09 explored live oral an. Hugo Hopping, what we called “a works to be presented in the presence of an works to be presented in the presence of an debate interval between academia, art insti- audience. It is in this spirit that we hope audience. It is in this spirit that we hope tutions and individuals”. ESL (Esthetics as that A situation in which an. Hugo Hop- that A situation in which an. Hugo Hop- a Second Language) was, in practical ping, what we called “a debate interval ping, what we called “a debate interval terms, a migratory series of one-day solo between academia, art institutions and indi- between academia, art institutions and indi- exhibitions that pretended to present, some- viduals”. ESL (Esthetics as a Second Lan- viduals”. ESL (Esthetics as a Second Lan- times finished and sometimes unfinished guage) was, in practical terms, a migratory guage) was, in practical terms, a migratory works of art as an excuse to discuss them series of one-day solo exhibitions that pre- series of one-day solo exhibitions that pre- publicly. The desire to organize this came tended to present, sometimes finished and tended to present, sometimes finished and mainly from our longing for crit-classes. sometimes unfinished works of art as an sometimes unfinished works of art as an 3 Newspaper Jan Mot Garcia Torres 177 – 178 Mario Garcia Torres at Tamayo Museum Mexico City Mario Garcia Torres, Museo de Arte Sacramento MEXICO CITY, FEB. 27 – A first major unlikely places; that to each form of n this program. But, how is this different retrospective exhibition of Mario Garcia knowledge, there is a kind of dowsing rod; from say, a public conference program, we Torres is organised by the Museo Tamayo that in the creative process that is art making asked ourselves. After some discussions it Arte Contemporaneo in Mexico City. he finds himself, time and again, in the most became clear, that even if it might look like Mario Garcia Torres’s work deals largely with common of places: el interior. a seminar, this should still be conceived as locating and challenging the places of art. The exhibition Let’s Walk Together an exhibition. In it the time and function of This interest has taken him on a peripatetic captures this ongoing pursuit, presenting often so-called educational programs would journey. The museum, whether built or more than thirty artworks and projects be blurred, and will conceive the gallery not imagined, is naturally one of the places he created by García Torres over the past fifteen solely as a space to exhibit works that might investigates and, in one instance, even set out years. With a curatorial structure juxtaposing or might not spark a discussion. It is cer- to create. He explores various forms of transfers and transference, the exhibition tainly not the first time that the gallery communication platforms, and scrutinises relates provenance with motivation, tells of engages in such activity. The program avenues and corners of artistic complicity. source from intent, finds a way to make space called Oral Culture which was organized in His work also investigates Time — perhaps a in time. The experience of the exhibition 2008-09 explored live oral works to be pre- less obvious area to research, but it is in time involves movement, as well. It takes place at sented in the presence of an audience. It is itself where art has often been sited. different venues throughout Mexico City that in this spirit that we hope that A situation in García Torres’s wanderings have thus lie within a perimeter of 1,814 hectares.
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