COMPONENT 1455 - Urban Molotov 0001 - Oban 14 edit
COMPONENT 1455 - Urban Molotov 0002 - Caol Ila 12 edit
COMPONENT 1455 - Urban Molotov 0003 - Talisker Skye edit
COMPONENT 1455 - Urban Molotov 0004 - Tamnavulin edit
COMPONENT 1455 - Urban Molotov 0005 - Lagavulin 16 edit
COMPONENT 1455 - Urban Molotov 0006 - Glengoyne 10 edit
COMPONENT 1455 - Urban Molotov 0007 - Tomintoul 10 edit
Spray paint on glass / 7 unique pieces / 2019.
In Good Conditions, Kris Van Dessel and Tom Van Malderen build upon their previous collaboration Conditions and Opportunities at DMW Art Space in 2017. Together with curator Tram Scawped, the artists continue their quest into the protocols of exhibiting and the mechanism of the contemporary art economy in general. Their previous collaboration at DMW investigated the conditions and opportunities of the ‘art space’ by means of a series of minimal in situ interventions, ranging from subtle modifications of lighting and heating elements to enquiries into the appropriate shade of white for the walls of a white cube. Following up on this expo, 'Good Conditions' explores the application and potential of autonomous artworks as components of a dense art-fair-look-alike constellation. As part of this enquiry, all prices of the works on display are fixed in accordance with the inscrutable laws of the art economy and arranged in an easy-reference component list with accompanying article numbers.
No fixed set of relationships will bind our components. It will be in the hand of our impulses and our decisions in situ. It is an open composition, a presentation, a staging, an event….which in its own way questions the protocols of exhibiting.
From Mark Rakatansky: Even more that the English word 'compose', the German word that Benjamin uses - komponiert - expresses the tectonic attribute of components (Komponente), and thus the act of placing them together in a series, which requires a building up, a weaving together. 'Bits and pieces' in the words of Lawrence Weiner's aphorism, 'put together to present a semblance of the whole' . Which is what every cultural artefact (whether a piece of music, and essay, a building, a novel, a film) is - indeed, it's what all narrative, all identity, all ideology, all and every culture is (and any anthropologist could tell us). (Tram Scawped, Summer, 2019)
related exhibition: GOOD CONDITIONS