curatedby_2015: Sebastian Cichocki. Łukasz Jastrubczak - Hollow Blocks in a Windowless Room

Opening: Thursday, Sept 10, 2015, 6pm
Sept 11 - Nov 14, 2015

  • Robert Barry, Untitled (lemon), acryl and ink on paper, 2004, 32x26 cm
  • Łukasz Jastrubczak, Mirage. In Order of Appearance, single-channel video, HD, 102', ed. 5+1, 2015, film still; courtesy: Galeria Dawid Radziszewski
  • Łukasz Jastrubczak, Reconstruction of the Photograph and the Sentence, cardboard model, light, stone, 2015, 50x23x80 cm
  • Łukasz Jastrubczak, Walking on the Spiral Jetty, field recording, side A-4'39'', side B-7'06'', 2014-15, ed. 22
  • Susanne Kriemann, Untitled (nuclear) II, inkjet print on Hahnemühle Photorag, 140x111 cm, 2013, ed. 1/3 +2AP
  • Paweł Kruk, The Lost Interview, single-channel video, 5'51'', ed 5+1, 2009, courtesy: Galeria Dawid Radziszewski
  • Małgorzata Mazur, Untitled (Amarillo), c-print, 2014, 70x80 cm, ed. 5
  • Małgorzata Mazur, Untitled (KENT), c-print, 2014, 180x210 cm, ed. 5
  • Małgorzata Mazur, Untitled (PASSAIC), c-print, 2014, 35x50 cm, ed. 5
  • Agnieszka Polska, Haroun, c-print, 2012, 60x60 cm

with cameo appearances by Robert Barry, Susanne Kriemann, Paweł Kruk, Małgorzata Mazur and Agnieszka Polska

A. A flying tomb disguised as an airplane.
B. Some plans for logical stupefactions.
C. The case of the "missing-link."
D. False theorems and grand mistakes. (From Minus Twelve by Robert Smithson)

The exhibition revolves around excerpts from Minus Twelve, Robert Smithson’s notes on the qualities of minimal art (1968). The visual artist Łukasz Jastrubczak and the curator Sebastian Cichocki concentrate on the contemporary legends, fiction and appropriations related to the intellectual legacy of Robert Smithson. Forty years after his death, Smithson is an extremely mythologised figure, and his oeuvre remains one of the liveliest legends of the 20th century art. The authors’ aim is to pursue a reflection on the liveliness of the artistic ideas from the 1960s and 1970s , which revolve in the “second-hand” circulation – through spoken accounts, vestigial documentation or even fabricated information.

All the displayed objects are related to the Mirage project (2011- on-going) by Jastrubczak and Cichocki – which initially materialized as the book of the same title. It consisted of correspondence between the authors, in the form of a game or “duel” of images and text. Jastrubczak’s photographs arose during the artist’s journey around the United States, and Cichocki’s textual responses (treated as “curatorial guides and references”) were written in Poland and based, in part, on earlier essays by Smithson and other artists active in the 60s and 70s. In response to photographs sent by email, texts arose that were guides for the taking of subsequent photos, and so on. The authors had only 24 hours to respond.

The book was then reinterpreted in a series of staged lectures, concerts, public readings, and finally the film Mirage: In Order of Appearance – the core of the exhibition. The film was shot in the summer of 2014, when the authors decided to go on an American journey in the footsteps of theirs protagonists: the pioneer of green conceptualism John G. Lee, his partner Anna Zaloon and the teenage hitchhiker Mia. The whole book has been read before the camera (usually without understanding the meaning of the text) by accidentally met strangers.
Some elements in the exhibitions are cameo appearances by guest artists (including the legendary conceptual artist, Robert Barry), works interwoven into the somehow cinematic sequence of events.

Download ebook: curateby_vienna 2015

curated by_vienna was initiated by the Vienna Business Agency’s creative unit, departure, in 2009 to support systematic cooperation between Viennese contemporary art galleries and international curators. Reflections on the intersections between art and capital provide the impetus for curated by_vienna 2015. Philosopher Armen Avanessian’s epynomous essay “Tomorrow Today“ addresses artistic strategies for a post-capitalist era.