An exhibition by Gregory Hari
with the support of Lavdrim Dzemailji
curated by Dimitrina Sevova and Alan Roth.
Opening: Saturday, 08 October 2016, starting at 18:00h
with a performance by Gregory Hari at 19:00h.
Saturday, 08 October 2016 - Friday, 21 October 2016
Further performances by Gregory Hari on Friday, 14 and Friday, 21 October 2016, 20:00h (door opens 19:00h).
Opening hours during this exhibition / Öffnungszeiten während dieser Ausstellung
Wed 15:00h - 18:00h // Mi 15:00h - 18:00h
Thu 16:00h - 19:00h // Do 16:00h - 19:00h
Fri 15:00h - 18:00h // Fr 15:00h - 18:00h
begone before somebody drops a house on you too
“Suddenly, this story came in and took possession. It really seemed to write itself.” L. Frank Baum, the author of The Wonderful Wizard of Oz (1900)
With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance. He further explores issues on belonging and territory, home and journey, inspired by the contexts of the novel The Wonderful Wizard of Oz, written by Lyman Frank Baum and published in 1900, and its most successful and popular movie/musical adaptation starring 13-year-old Judy Garland, which launched in 1939 to six Oscar nominations, and become influential for the new era of Walt Disney and the later Disney Empire, and by their aesthetic, social and political impact in the mainstream and in subculture.
The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. But the production of the event is not an ‘exchange of knowledge for power,’ nor a symbolic force. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey. The topography becomes a “science of the sensible – the science of total joy,” a chaosmos journey of micro-physical mapping and mind-map of micro-desires. They are a journey as a cognitive concept and narrative future of a body, interwoven with Gregory Hari’s research materials, which displays the source of his movements and directions.
The artist situates himself on a yellow strip around one meter wide, where his performance takes place. He improvises ‘across seemingly exhaustive ground.’ It is a process of taking place – a particular place and a particular time. The performance transforms these temporal and spatial categories to a “threshold” that un-rolls an-other flexible and self-multiplying strip of impersonalized and individuated, self-constructed temporal and spatial relativity that constitutes a world yet to be explored. The artist’s performance starts from this particular coordinate of time and space where it takes place and places things in context. With this, the artist emphasizes a dependence of his performance on its specific chronotope (Bakhtin) that animates a process of ‘endlessly’ expanding its performative territory with the time of the body’s movements and the “time space” of the traveler who carries this place with themselves as they travel through it. A journey like a blank page.
“Green clothes the earth in tranquillity, ebbs and flows with the seasons. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. Hallucinatory sunny days.” (Derek Jarman)
“Did they secretly drag up in all those emerald dresses that the girls had cast off?” (Derek Jarman)
Hallucinatory sunny days and perception of landscape in a journey, a journey in colors separated in a three-strip process by diffraction and subtraction! Transferences! For this dazzling rainbow palette, “brilliant, gorgeous, painted, gay”:
Red stands for the ruby slippers/red shoes
Yellow stands for the yellow brick road
Green stands for the Emerald City of Oz
Green: “Green is a colour which exists in narratives … it always returns. The grass is always greener on the other side of the fence.”
Yellow: “The nimbus of the saints, haloes and auras. These are the yellows of hope.
The joy of black and yellow Prospect Cottage. Black as pitch with bright yellow windows, it welcomes you.
Yellow is a combination of red and green light. There are no yellow receptors in the eye.”
Red: “Red protects itself. No colour is as territorial. It stakes a claim, is on the alert against the spectrum.”
“Red explodes and consumes itself.”
“Liverpool. Early 1980s. I join the march. V. (REDgrave) says, ‘Derek, you carry a red flag.’ There are fifty of us. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope. The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. Someone says to me, ‘The red of the square is beautiful. The root of the red is life itself.’”
Excerpts from the curatorial text by Dimitrina Sevova (PDF, 181KB).
Diese Ausstellung ist Teil der Plattform Transferences: The Function of the Exhibition and Performative Processes in the
Practices of Art – Questions of Participation von Corner College, konzipiert von Dimitrina Sevova und Alan Roth, und wird unterstützt vom Nachwuchsförderungsprogramm der Pro Helvetia.