THERE WAS THIS ENTIRE FLOOR CLOSED TO THE PUBLIC.
It was going to be the Egyptian section of the museum.
ALTHOUGH the access was restricted, I could see the decor through the glass doors.
There were some empty vitrines and pedestals, some were still wrapped in plastic.
They were waiting to be filled, to get content. These objects are usually invisible, but were
now revealed. They exist in the past, but start to disappear in their future. Their destiny is
to be absent. Only carrying the image, the object, the knowledge.
They are these generic forms, like a pure material waiting to function.
Any exhibition space has its own agenda concerning not only what is shown, but also how it is shown; a setting and a script intended to do justice to the displayed objects as well as direct the visitor’s experience. Lisa Sudhibhasilp is interested in these mechanisms, both on the level of exhibition architecture and display modules and the Duchampian/contemporary strategies for incorporating them as (part of) artistic production. Sudhibhasilp‘s three-staged script for P//////AKT sets out to investigate, and perhaps even emphasise, the structures underlying presentation and the extent to which the boundaries between intent and experience, art and display, might dissolve. The first act is focusing on stage and backstage.
——————–
NL
THERE WAS THIS ENTIRE FLOOR CLOSED TO THE PUBLIC.
It was going to be the Egyptian section of the museum.
ALTHOUGH the access was restricted, I could see the decor through the glass doors.
There were some empty vitrines and pedestals, some were still wrapped in plastic.
They were waiting to be filled, to get content. These objects are usually invisible, but were
now revealed. They exist in the past, but start to disappear in their future. Their destiny is
to be absent. Only carrying the image, the object, the knowledge.
They are these generic forms, like a pure material waiting to function.
Iedere tentoonstellingsruimte heeft zijn eigen agenda, niet alleen als het gaat om wat er getoond wordt, maar ook hoe; een setting en een script bedoeld om recht te doen aan de getoonde objecten en de ervaring van de bezoeker te regisseren. Lisa Sudhibhasilp is geïnteresseerd in deze megansimen, zowel op het niveau van tentoonstellingsarchitectuur en display-modules als de Duchampiaanse/hedendaagse strategieën om deze te integreren als (onderdeel van) de kunstpraktijk.
Met haar script, dat zich in drie bedrijven afspeelt in P/////AKT, onderzoekt Sudhibhasilp de structuren die aan het presenteren als zodanig ten grondslag liggen en bevraagt ze de mogelijkheid om de grenzen tussen opzet en ervaring, kunst en display, op te heffen. De eerste akte richt zich op stage en backstage.
