Sorry you missed me
Sorry you missed me links six artists negotiating codes of transmission and features original performances, sound-based sculpture, temporary wall paintings and online commissions.These works play with the traditional boundaries of the exhibition format, including time, space and presence.
Marco Godoy’s If I were in your shoes (bread education freedom) responds to discussions held in a series of reading groups as part of the curatorial research for the show. The short film was disseminated online and manifests during the exhibition through performances outside the galleries and a projection within the space.
In The Public is Touching (The Iron Fist in the Rubber Glove) by Amy Spiers and Catherine Ryan, college guard request that visitors wear gloves as a condition of entering the exhibition space. This seemingly innocuous gesture reflects on the protocols of security and hygiene that govern the public domain, making visible the paranoid by protecting against contamination or direct contact.
A character created by Hanne Lippard has sent a ‘spam email’ ahead of her opening night spoken word performance, as part of Phallucinations. The detritus of the performance becomes an installation populated with cacti and images of the relics of monuments; the remainder of frustrated moments of communication.
‘Sorry you missed me’ and ‘Sorry I missed you’ are two encrypted messages within Navine G. Khan-Dossos’ large-scale diptych. The painting references the staccato form of Morse code and the RGB digital palette. Facing each other in dialogue that considers failed communications, which often arise in the transfer of information.
On Saturday 19 March, part of the lower gallery hosts Larry Achiampong’s Jam in the Dark. A sound-sculptural experiment; ever-changing and completely improvised in pitch-blackness. The work is an act of rebellion against the traditional indicators of status and hierarchy using darkness as a unifying presence where the pleasures of harmony and disorientation are communicated between audience and musicians.
Artists: Larry Achiampong, Marco Godoy, Navine G. Khan-Dossos, Hanne Lippard, Amy Spiers and Catherine Ryan
Curators: Rafael Barber Cortell, Inês Geraldes Cardoso, Léa Herbeth, Tanya Karina Pragnell Lopez, Nephertiti Oboshie Schandorf
School of Humanities
MA Curating Contemporary Art, 2016
My curatorial practice draws from observations on the power of images to support a discourse and I have explored the notion of montage in relation to exhibition-making as a way to rethink archives in my interim project, INTERSTITIAL ZONE at The Showroom and X Marks the Bökship.
Coming from a film studies background, my current research revolves around the cinematic trailer as a model to rethink the temporality of the exhibition. For my dissertation, I drew my inspiration from cinematographic techniques of montage (Sergei Eisenstein, Pier Paolo Pasolini, Jean-Luc Godard...) but also from the theory of images elaborated by Aby Warburg and Georges Didi-Huberman.
I am also very concerned with questions of mediation and how to engage with an audience in a non-traditional way. I believe we live in a moment when art institutions are eager to create an overabundance of educational activities, especially as public funding bodies demand a mission of democratisation of culture from them. Discussions in the curatorial field revolve very much around notions of knowledge production and how to transfer ideas to the public. However, it would seem that a lot of curators have no real interest in making their projects visible outside of the professional sphere. Most often, museum-goers can feel estranged from contemporary art.
In my opinion, there is a need, in the art world, for a new kind of artistic mediation that should stir away from traditional didactic communication tools (wall text...).
Drawing from my experience at the Serpentine Gallery and at FIAC, for me, this involves creating personal and social connections between the public and a cultural interpreter. I truly think that an audience will have a deeper engagement with an artwork and a more durable memory of their experience when they are solicited by a person rather than by a text on a wall.
My curatorial practice is grounded in producing exhibitions that are considered hybrids between display and event and draw on characteristics that are generally applied to art practices such as creativity, fluidity and open-endedness.
Born in France, I trained in art history at the Ecole du Louvre and specialised in contemporary art, and particularly performance and in Theory of Performing Arts and Cultural Project Management at the University of Lille.
- BA Art History, Ecole du Louvre, Paris, France, 2014 ; BA Theory of Performing Arts and Cultural Project Management, Université Catholique de Lille, France, 2010; Preparatory Class in Humanities, Lycée Notre Dame de la Paix (Lille), France, 2009
- Artist assistant and cultural mediator, Serpentine Galleries, London, 2016; Cultural mediator, FIAC, Paris, 2011–2013 ; Gallery assistant, Laurent Delaye, London, 2010; Gallery assistant, Twilight zone gallery, Tournai, 2010; Gallery assistant, Gimpel Fils, London, 2009
- Sorry you missed me, RCA galleries, London, UK, 2016; INTERSTITIAL ZONE, The Showroom and X Marks the Bökship, London, UK, 2015; Charivari Circus Festival, Maison folie Moulins, Lille, France, 2010
- Pauline Corrias, Marie-Paule Demarquez, Léa Herbeth, An archaeology of lost objects, FIAC, 2013; Marie-Paule Demarquez, Fontaine, FIAC, 2012; Léa Herbeth, Esmeralda Steyr, Steven Vandeporta, La somme des hypothèses, FIAC, 2011