Curator: Ali Akay
Artists: M/M
When the viewer enters the exhibition space, he passes through the moment of a dream–through holes that admit him–and swaying this way and that, he traverses one space to the next. The exhibition’s disposition shows us the present and past-tense relationship between that which is going on in the street and that which is on the stage. On the one hand what we have here is an observing of a “memory action” which emerges from within the past and which transcends social and artistic givens; on the other, the walls are full of artistic propositions that might provide an accurate prospect as to the future. The principle of hope receives its impetus from this heterogeneous relationship.
Hope is what is props up and is reverberated by “A Word Of Love”. In the midst of a lethargy brought on by a swiftness that inevitably must come to an end having reach its stopping-place, hope–just maybe–will render itself visible. Have we ever seen Hiroshima? Or imagined it?
M/M describes the exhibition thusly for us:
“This is a reflection on the graphic reaction to the “Utopia Station” exhibition, a project undertaken by Molly Nesbit, Hans-Ulrich Obrist, and Rikrit Travanija at the 2003 Venice Biennial on the subject of Marguerite Duras’s Hiroshima Mon Amour and La Pluie d'été. The two installations consisting of 41 wood-and-metal stools traverse and parse a rhythmic arrangement of drawings and writings “Just Like an Ant Walking On the Edge of the Visible”. Surrounded by all the clamor that is informed by a hidden balance, the viewer will recall that at Hiroshima no one saw it coming either.”