MATTHEW BURBIDGE
burbidge is a berlin-based british artist
whose oeuvre includes painting, drawing, sculpture, collage and installations
assembled with found and ordinary objects combined to produce extensive and
intricate spaces, some of which seem to defy the logic of gravity.
art-historical references abound in burbidge’s work – from artists as diverse
as marcel broodthaers to jean tinguely to albrecht duerer – and he beautifully
juxtaposes these elements to create fresh, contemporary works, honoring his
forebears, while asserting his right to stand among them as their equal.
http://www.jgb-berlin.com/cv.htm
LE COMMISSARIAT
113 Boulevard Richard Lenoir
March 14–April 4
113 Boulevard Richard Lenoir
March 14–April 4
View of “By Accident,” 2009.
For this exhibition, Le Commissariat, a
Parisian curatorial group, invited Komplot, a Belgian curatorial group, to
produce a show; Komplot invited London-based writer Douglas Park, who compiled
an archive of relatively recent art-historical accidents, complications, and
mistakes. The show’s theoretical key is a quote from Burroughs and Gysin’s now
very fashionable The Third Mind (1978): “We cannot produce
accidents to order.” In the exhibition’s press materials, Park cites Mel
Bochner’s 1966 exhibition at the School of Visual Arts, “Working Drawings and
Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art,” as a
specific, even archetypal example of such an accident.
That exhibition had originally been
designed in a conventional fashion (prints framed and hung on the walls), but
it was only because the school found it too expensive that Bochner was “forced”
to adopt his famous exhibition strategy, in which sketches, invoices,
calculations, and sundry ephemera and preparatory materials by many
contributors were collated in four-ring binders, placed on pedestals, and made
available for perusal. Park adopts a related casual approach. The core of the
exhibition is the archive, which is compiled in a fifty-page booklet, with each
entry discussed by Park in English and French, accompanied by David Evrard’s
(seemingly unrelated) visuals. Copies are available, and there are chairs for
sitting and perusing. On one wall, there is an orderly, legible slide show of
many of the archived images and events, and on the other, there is a video by
Matthew Burbidge of their drunken discussion—about the archive—with Park in a
bar. The footage is grainy and dark, so that mostly what one sees are the
French subtitles (which are not always accurate). There is a blustering and
slightly helpless quality in Park’s voice and in the exhibition, but this lends
the show a grimy authenticity and is indicative of something legitimately
underground.
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