An Archive for the Lost ones
The Lost Ones: Text and images encased between glass plates - pieces to be stacked and scattered by the visitor in a dipsersion of meaning. On the back wall the empty shelves of an historical archve in Den Haag, a catalog of small dream images in the corner near the floor.
A large aluminum light table in the center of the gallery displays the archive, two oak boxes holding 72 glass plates. The visitor can recombine titles and images. The units recall medical specimens and photographic plates.
Light spills onto the floor from under the table. On the back wall projections detailing the wooden shelves and cast iron stair-ways of an old archive in Den Haag can be seen. A series of small intensely saturated images are projected near the floor. At times there is a still image of Duchamp's hand reaching for a chess piece and moving it across the balck and white board.
THE SITUATIONS: Supplication || Deliverance || Pursuit || Crime Pursued By Vengeance || Vengeance Taken for Kindred Upon Kindred || Falling Prey to Cruelty or Misfortune || Daring Enterprise || Abduction || Disaster || The Enigma || Fatal Impudence || Rivalry of Kinsmen || Enmity of Kinsmen || Slaying of Kinsmen Unrecognized || Involuntary Crimes of Love || Murderous Adultery || Self Sacrificing for an Ideal || Self Sacrifice for Kindred || All Sacrificed for a Passion || Crimes of Love || Obstacles to Love || Discovery of the Dishonor of a Loved One || An enemy Loved || Conflict With a God || Remorse
(1993) Contemporary Art Gallery, Vancouver Canada,
Curated by Keith Wallace,
Catalog essay by Barbara Burkhardt.
Bookwork published by Contemporary Art Gallery, Vancouver Canada
Barbara Burkhardt from exhibition catalog: "... But the impulse to ground the sense of vertigo by naming names as orgins would only produce a false closure, reveal a structure that is as empty as the abandoned archive twice projected on the gallery walls. an Archive cites the moribund repositories of cultural memory, insisting on the already thereness of the language and the culture. It begins in the folds of citation. It's soundtrack grafts together music and words, sounds and phrases, culled from the inventory of private and public memory, from dreams, films, books, pictures. HIdden in one of these folds is the figure of Orpheus, doubly represented through a lengthy musical quotation from Gluck's opera Orpheus and Euuridice and phrases taken from Cocteau's film adaptation of the Orphic myth, Orphée. And again there is repetition, the muscial quotation from Gluck is reiterated in a different improvisational voice by a saxaphone... As the aura of the original is lost, an Archive remobilizes the force of its trace through displacement to produce a phenomenal, atmospheric density..."