space #1 - gallery
Sigetics by definition can be thought of as an evocation via absence. How to connect the present with the past, even of an event? Amidst so many gaps a certain impossibility is faced by acknowledging incompleteness. This lack does not evaporate, but instead resonates in its unstatedness. What can be thought between the interstices, connecting and allowing recognition of the plenitude located in cracks, is almost like an operation of faith to piece together a vanishing puzzle. In the case of Sigetics 2, the perceiver has elements to ponder and to wonder about for themselves, as well as links to an ongoing temporarily united space of conditioned becoming: an exhibition.
One of the aspects eluded through their absence are the impossibilities faced when trying to convey the vast corpus of Green’s oeuvre and the phenomenological experiences that her immersive environments provide via sound, spatial arrangements, moving images, color and thought. At Espai Visor’s gallery these attempts at translation take the form of a compressed, but conceptually expansive, presentation.
Endless Dreams and Water Between (2009), Green’s extensive exhibition commissioned by the British National Maritime Museum, Greenwich is premiered in Spain in its three-channel film installation form, and a new series of prints. The film installation epicenter resides in Endless Dreams and Water Between, a feature film with four fictitious characters sustaining an epistolary exchange in which their “planetary thought” is weaved with the physical locations they inhabit, visual and aural characters in themselves: the island of Manhattan, the island of Majorca, in Spain, and the islands and peninsula that form the San Francisco Bay Area. The characters reflections and dreams enact what could be described as “an archipelagic mind,” linking worlds, time, and space. This film’s stream of sounds, images, and thoughts contrapuntally intersect two silent films, Stills and Excess; the former a film of related still images taken from the different international shooting locations, interrupted by a phrase alluding to the paradoxical processes of photography and memory noted by Henri Bergson; the latter film presents a reflection on structuralist film, as a mixed homage and further rumination on avant-garde film aspirations. In this combinatory projection space, the perceiver’s attention splits and circulates, allowing water-thought forms of worldperception to emerge.
A new series of prints produced for Sigetics 2 provide an elaboration on the Endless Dreams and Water Between constellation: a cast of characters and their colorful thoughts, a compressed textual presentation of the feature film, and a proposal for the material emergence of the ‘momentary nexus’ that constitutes The September Institute, a non-utopian vortex of thinkers, creators, and artists that gather each September in the island of Majorca. One of their mottos states: “We still own our words and can produce them.”
Migration of forms and color, what these can symbolize and how meanings can be reassigned, as well as how migrations of symbols can be thought in relation to people, places, time, histories, creations, and actions, is a threading link between this set of prints and the rest of this new series: a pixelated computer icon that first appeared as a CD-ROM navigational tool in Green’s 1996’s Digital Import/Export Funk Office transmutes and digitally “upgrades” itself in different prints.
Sigetics 2 allows the interested perceiver to test the sigetical limits, enactions and possibilities opened by Green’s ongoing formal and conceptual operations around the world.
Renée Green is an artist, filmmaker, and writer. A survey exhibition of 20 years of her work was organized in 2009 by the Musée Cantonal des Beaux-Arts, Lausanne (Ongoing Becomings 1989-2009, JRP/Ringier, 2009) and another exhibition highlighting her time-based work of that period in 2010 by the Yerba Buena Center for the Arts, San Francisco (Endless Dreams and Time-Based Streams, YBCA via DAP, 2010). In 2008 the Galerie Nationale du Jeu de Paume, Paris organized a retrospective of her films. Selected solo exhibitions venues include the Museum of Contemporary Art, Los Angeles; Dallas Museum of Art; De Appel Foundation, Amsterdam; Vienna Secession; Fundació Antoni Tàpies, Barcelona; Contemporary Arts Center, Cincinnati & the National Maritime Museum, Greenwich, London; her work has been included in many group exhibitions; some venues include Museum Ludwig, Cologne; MACBA, Barcelona; Centre Georges Pompidou, Paris & International Center of Photography, New York; her work has also been present at the Whitney, Venice, Johannesburg, Kwangju, Berlin, Sevilla & Istanbul Biennials, as well as in Documenta 11. Her books include: World Tour (1993), Camino Road (1994), After the Ten Thousand Things (1994), Certain Miscellanies: Some Documents (1996), Shadows and Signals/ Sombras y señales (2000), Between and Including (2001), Negotiations in the Contact Zone/Negociaçôes na zona de contacto (ed.) 2003. She has published essays in Transition, October, Frieze, Texte zur Kunst, Spex, Sarai Reader, and Collapse among other magazines and journals.