Exile of the Imaginary
Politics / Aesthetics / Love
18 January through 29 April 2007
Opening Reception:
17 January 2007, 7 p.m.
Generali Foundation
Wiedner Hauptstrasse 15
1040 Vienna, Austria
43 1 504 98 80
foundation [at] generali.at
With works by Andrea Geyer, Ken Gonzales-Day, Sharon Hayes, Adrià Julià, LTTR, Dorit Margreiter, Stephanie Taylor, Kerry Tribe, Bruce Yonemoto, and Dolores Zinny/Juan Maidagan.
Can love be a critical medium in politically turbulent times? The exhibition Exile of the Imaginary conceived by American art historian Juli Carson focuses on this question. The Lovers Discourse (1977) by French philosopher Roland Barthes offers a theoretical basis, and also lends the exhibition its title. The book confronts us with a montage of texts from the author and from world literature on the discourse of love. The order of the fragments follows the alphabet, but otherwise, they are selected subjectively. The author himself introduces this book as a portrait not in a psychological but in a structural sense. Consequently, the critic is analyst and subject of analysis in one. Juli Carson now reflects upon this co-presence of a (quasi-) scientific procedure and subjectivity, in an exhibition specifically devoted to this thematic and featuring works of a younger generation of artists who distinguish themselves through conceptual practices.
What would it mean, then, to combine Barthess assertion about love with that of Conceptualism as a means of a larger cultural/aesthetic critique? Perhaps it would establish a type of Conceptual Unconscious, a critical, psychoanalytic site of contemporary art production. This is precisely what a select group of artists are engaging in today, a practice that Exile of the Imaginary presents and analyzes. In each of the individual artworks, the question of desire is the vehicle for approaching the actual subject matter: a specific cultural event. Each artist becomes an analyst, taking up this allegorical operation in different ways to interrogate art as a critical agent for social change. Thus, the dialectical division between political and lyrical genres dissolves.
Following Barthess lead, the artists take a poetic surrealist approach to their subjects to arrive at critical statements on the relationship between todays art and politics. In doing so, they engage the semiotic lessons of Conceptualism without affirming the movements rationalist, analytic claims. From this vantage, subjects as diverse as electoral politics, immigration laws, the Vietnam War, racism, cultural translation, and institutional critique are taken up in the equally diverse mediums of sculpture, performance, song, film, video, and photography.
The Generali Foundation opens the exhibition year as is traditional with a thematic exhibition put together by a guest curator. Juli Carson is art historian, art critic, and curator and teaches at the Department of Art of the University of California, Irvine, where she is also director of the University Art Gallery. Since 2004 she is co editor of artUS. Her essays have appeared in Art Journal, Texte zur Kunst, Documents, and October. In collaboration with the Generali Foundation Vienna, she curated the archive section of the exhibition project Mary Kelly. Post-Partum Document in 1998.
Publication
Exile of the Imaginary
Politics / Aesthetics / Love
Edited by Juli Carson, published by Sabine Breitwieser.
Foreword by Dietrich Karner, editorial by Sabine Breitwieser, introduction Juli Carson, texts by Juli Carson, Parveen Adams, Gregory Ulmer and the artists, Germ./Engl., 180 pages, numerous color- and b&w images, Verlag Walther Koenig, Cologne.
Artistic and Managing Director: Sabine Breitwieser
Guest Curator: Juli Carson
The work of Adrià Julià has been produced in cooperation with SEACEX (The State Corporation for Spanish Cultural Action Abroad).
