Part of the curatorial committee who developed and presented this program of Fluxus performances from the 1960’s.
Four days of outlandish festivities included Twelve Piano Compositions for Nam June Paik and several events from The Flux Olypiad by George Maciunas, as well as three works by Alison Knowles including Make a Salad, Newspaper Music, and Shuffle.
The events were produced with advice and assistance from Larry Miller, Simon Anderson and Sara Seagull.
Part of The Long Weekend Festival, Tate Modern Turbine Hall, London 2008
Curated a performative, process-based installation by Fluxus artist and auto-destructive art protagonist Gustav Metzger.
Presented in conjunction with a display of Fluxus multiples from Tate’s archive, the project involved the artist pasting pages from The Daily Express newspaper across the gallery wall. Accumulating over four days of live action, the work evolved into a critical collage of contemporary society as documented by the right-wing populist press.
The project was originally conceived as part of the 1962 Fluxus event, Festival of Misfits. However, organisers of that event unceremoniously pulled the performance, as it happened to coincide with news of the Cuban missile crisis hitting the tabloids.
Tate Modern, London 2008
Commissioned and produced a film by Luc Lagier featuring artist Dominique Gonzales-Foerster.
This one-hour documentary followed the artist throughout as she developed her Unilever Commission TH.2058. Transforming Tate Modern’s Turbine Hall into a post-apocalyptic shelter, the commission combined over-sized, augmented sculpture, music, film and emergency provisions.
The documentary reveals the artistic design and fabrication process, as well as the literature, natural history and cinema references that influenced the artist throughout development.
Broadcast on Channel 4 and presented as in-gallery interpretation, Tate Modern Turbine Hall, London 2008
Commissioned and toured this new work by Marek Walzek and Martin Wattenberg.
Exploring different cultural understandings of utopia, this five-channel video installation drew data from the internet to compile audio-visual sequences that museum visitors were able to manipulate via a touch screen interface.
Online audiences were also able to effect the in-gallery display and to freeze a frame for export and printing.
Presented at the National Art Museum of China (NAMoC), Beijing and the Netherlands Media Arts Institute, Amsterdam 2008