The Hamsterwheel
Jean-Marc Bustamante, Urs Fischer, Olivier Garbay, gelitin, Douglas Gordon, Rachel Harrison, Sarah Lucas, Paola Pivi, Rudolf Polanszky, Ugo Rondinone, Tamuna Sirbiladze, Una Szeemann, Piotr Uklanski, Franz West, Toby Ziegler. Christiane Pooley (guest artist)
Date
June 8 - August 26, 2007
Organized by
Valentina Cancelli, Veit Loers, Christian Meyer, Ewald Stastny, Atelier Franz West, Schlebrügge.Editor and Printemps de Septembre Team
Location
Arsenale di Venezia | Venice
Christiane Pooley
Monumento, 2017
Photo: Jared Zagha
Monumento, 2017
Photo: Jared Zagha
The ego of modern man has taken on its shape within the beautiful soul as a dialectical cul-de-sac. (However, an escape from this impasse, where it deliriously repeats its discourse, does offer itself to the subject. [Communication can be reliably achieved within the inter-subjective realm of science and its applications, as required within a universal civilisation.]) (Lacan)
The exhibition offers the luxury of the large hall and is viewed by its organisers as a comfort stop within the context of the biennial’s obstacle course offering an opportunity for refreshment, relaxation and entertainment. Group exhibitions are usually held pursuant to a recognisable plan, illustrating a purpose, elucidating a theme or serving a motto. Curators select according to a scheme and if it cannot be clearly distinguished and communicated to the media they may easily find themselves subjected to accusations of arbitrariness.
The exhibition puts the question of art’s purpose and meaning to the test. Musical concerts, in contrast to group exhibitions, usually assemble works of various authors and provenances without claiming any particular context of signification. The fine arts, by contrast, are increasingly subjected to the terrorism of interpretation.
The exhibition offers the luxury of the large hall and is viewed by its organisers as a comfort stop within the context of the biennial’s obstacle course offering an opportunity for refreshment, relaxation and entertainment. Group exhibitions are usually held pursuant to a recognisable plan, illustrating a purpose, elucidating a theme or serving a motto. Curators select according to a scheme and if it cannot be clearly distinguished and communicated to the media they may easily find themselves subjected to accusations of arbitrariness.
The exhibition puts the question of art’s purpose and meaning to the test. Musical concerts, in contrast to group exhibitions, usually assemble works of various authors and provenances without claiming any particular context of signification. The fine arts, by contrast, are increasingly subjected to the terrorism of interpretation.