Frutta presents the fourth and last episode of The Way Things Go, a domino-effect exhibition conceived as the sequence of four curatorial proposals connected by a principle of mutual interdependence. After the disappearance of the works presented by Adam Carr with We Will Disappear You, the closing of the temporary museum by Ilaria Gianni and the departure of Neurath’s Boat imagined by Frances Loeffler, Valentinas Kilmašauskas, last curator involved in the project, has elaborated an exhibition based on the concept of Thinging: the term, conceived by the artists David Bernstein and Jurgis Paškevičius (on show along with Amit Charan, Alex Cecchetti, Frank Heath, Tim Kliukoit, Laura Kaminskaitė, Mikko Kuorinki, Karl Larsson, Nicolas Matranga, Darius Mikšys, Triin Tamm), is a combination of thing and thinking. It describes at the same time the working method of those artists and the general concept of the show. This is conceived together as a prequel and a sequel of the previous curatorial proposals and aims at evoking the mises-en-scène set up in the gallery spaces through a process which is not dissimilar to the surrealist practice of cadaver exquis. In this way the exhibited works appear at the same time as “potential objects” and fragments of a larger story and broaden the limits of the exhibition space and time beyond the specificity of the single event.
“You came to me and said let’s make a chair. Then you realized the chair could be cheers. And with cheers we have a glass, and we need a place to put the glass so we need a table. But it’s perfect too, because chairs are often with tables. So here we are, Cheers and Tables. What a great misunderstanding! Cheers to Miss Understanding! Ah, but the miss is standing under too. She’s standing under the table. Cheers to the miss standing under the table! But how can a miss stand under a table, the table is too low for a miss, unless the miss is very tiny or it’s a very big table, but this is just a normal table, it has legs, legs Like the miss. But what if this is not a real miss but a representation of the miss? She could be made of stone, like a caryatid. A what?
A caryatid; a column in the shape of a woman. Karate? Yes she’s doing karate! Cheers to the miss standing under the table doing karate! But what now? What could it become? Is it an illustrative conversation? It is more than just an illustration. What is it for you, this cheers? It is at once a potential object and at the same time a story. And for you? (…)”
(an excerpt from the text of the same title by David Bernstein and Jurgis Paškevičius)
With: David Bernstein, Amit Charan, Alex Cecchetti, Frank Heath, Tim Kliukoit, Laura Kaminskaitė, Mikko Kuorinki, Karl Larsson, Nicolas Matranga, Darius Mikšys, Jurgis Paškevičius, Triin Tamm
Curated by Valentinas Klimašauskas
The exhibition opens on 5 November 2012, 7 pm at Frutta (Via della Vetrina 9, 00186, Rome, Italy)
1/1 A custom-made chair co-produced by Gediminas G. Akstinas, Liudvikas Buklys, Antanas Gerlikas and Jurgis Paškevičius for Raimundas Malašauskas “Photo Finish” exhibition at Vilnius Contemporary Art Centre in 2011. The artists used the concept of chameleon’s tongue that was seen at Royal Museum for Central Africa in Tervuren, near Brussels. A symbol of reification and perverse collectibility, a chameleon’s tongue, was seen as a basis on which a hologram was resting. Photo: Robertas Narkus.