Ausstellungsansicht Drama of Consensus (Documentation Series)
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cmDocumentation Series – Richard Ess, Hunter College 2018
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm
Ausstellungsansicht Drama of Consensus (Documentation Series)
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cmDocumentation Series – Jumpei Shimada und Laurids Oder, PINA 2017
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm
Documentation Series – Anja Kohlweiss, Valie Export Kubus 2021
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas,
Holzrahmen, Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm
Documentation Series – Simon Speiser, Stuttgart 2014
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas,
Holzrahmen, Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm
Tu Quoque, 2023
Vitrine „Filmmuseum FfM“ Stahlgestell, Plexiglas
100 x 100 x 100 cm
Documentation Series mit Tonfiguren und 6 Fotografien
Anastasia Jermolaewa, MQ 2021
Brishty Alam, Mirage III 2019
Fabio Santacroce, PINA 2018
Parastu Gharabaghi, Mirage II 2017
Philipp Friedrich, E++ 2017
Rebekka Rothenborg, Fig Garden 2021
17 x 12,5 cm
Drama of Consensus, 2023
1-Kanal Video, Installation mit LG-Projektor, Audiostativ, Stahlplatte (Spielbrett)
9 min 1 sec
Tu Quoque, 2023
Vitrine „Filmmuseum FfM“ Stahlgestell, Plexiglas
100 x 100 x 100 cm
Documentation Series mit Tonfiguren und 6 Fotografien
Anastasia Jermolaewa, MQ 2021
Brishty Alam, Mirage III 2019
Fabio Santacroce, PINA 2018
Parastu Gharabaghi, Mirage II 2017
Philipp Friedrich, E++ 2017
Rebekka Rothenborg, Fig Garden 2021
17 x 12,5 cm
Detailansichten: Tu Quoque, 2023
Documentation Series mit Tonfiguren und 6 Fotografien
Documentation Series – Robin R Waart, BMKOES 2018
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen
30 x 23,5 cm
A Poem, 2020
Text von Ania Shestakova
Pigmentdruck auf Papier
auf einem Stapel gesammelter Ausstellungstexte
21 x 29,7 cm
A conversation with Jennifer Gelardo & Beatrice Forchini
about the implications of exhibition documentation
In the frame of
Independent Space Index Festival 2023
The festival of project spaces in Vienna
Beatrice:
This exhibition has the title “Drama of Consensus” and we are going to talk about it starting from one of the two main works that Jennifer is showing here and then move on to the other piece, which is now not activated because it’s a video piece that you can see afterwards.
So, I would like to start from the series, the photographic series you’re showing, the “Documentation Series” that you can see here next to us and then in the next room. This is part of a selection of a larger series of photographs that you took as an exhibition photographer of other artist’s exhibitions. So you present shots that are actually meant to come to life as a record or as documentation, but then making this kind of conceptual shift and showing them as part of your work and your research on the exhibition as a desired space”.
I wanted to ask you how this came about and which position this has in your practice of reflecting on how spaces are constructed and what is the kind of investment in terms of desire, imagination, or experiences that artists produce within their work.
Jennifer:
… as an artist, before even taking on or doing the job as an exhibition photographer, before taking on this vocation, I’ve also been staging performances that question what it is, that we’re doing as artists and what this project is, in terms of the human animal, as I like to say after having read Donna Haraway, to put things into a biological context; We as beings need exhibitions for some reason or another. Since 15 years now, this has been a persistent question in my head and since 12 years I’m doing exhibition photography as a job to be able to support myself as an artist, to earn my living. I also like this thing of being immersed in the community with other artists. Serving other artists with pictures that I can take of their work, doing this over the course of 12 years, made this question even more persistent: why are we doing this, as artists? And why are people coming to see it, as viewers? What is the desire behind it, is the question that came up. I hope this would answer the question, right?
Beatrice:
Yes.
Jennifer:
Well then, over the course of time, I came to look at these photographs as windows into the private lives or private imaginary spaces of these authors. Something that people are sharing with us and that when you look at it as an overview or as a comparison, something else happens. This shift is very interesting to me.
Then last year I decided to share this overview that I acquired for myself, in an exhibition at Kunstverein Kärnten in Klagenfurth. But as my subjective selection of images that I took over the years. So I wrote the artists, asking them if it’s OK for me to choose a motif of their work, and share them in an exhibition of my own.
Beatrice:
Yes, and what I like is that this also multiplies the possibilities, also of your exhibition here, because of embedding traces that bring an echo of other spaces. In that way you involve a multiple view, that also has influenced your work of thinking about your own desired space in your own exhibition spaces. I like the idea tackling this network that came about through a job that you didn’t think of initially, as your art practice – that of an exhibition photographer, but then turning it into a personal study. In that way there is an echo and there are traces that enter in this space. The decision to show them in this form, encarved into acoustic foam, adds another layer and creates more distance but also makes them more sensual. Because when I see them now, I can see that there is something also very personal, that is not just documentation – it becomes more atmospheric for me.
(…)
An excerpt from a conversation between Beatrice Forchini and Jennifer Gelardo.
On the Implications of Exhibition Documentation in the Framework of the Independent Space Index
Festival, Vienna, and the Exhibition “Drama of Consensus”, June 4th 2023
(…)
Freie Sammlung Wien Nr. 35
Tonfiguren mit Wachsmalkreiden
Dimension variabel
