"Artist as Collector: Olivier Mosset," a new show at the MOCA Tucson in Arizona, introduces the pioneering artist's spirit of generosity and collaboration. The exhibit showcases his extensive collection of once and future emerging artists—acquired through barter for his own work.
Collaboration has been central to the Swiss-born, Tucson-based Mosset's work at least since he co-founded BMPT (Buren, Mosset, Parmentier and Toroni) in Paris circa 1966. That group sought to radically challenge notions of authorship, uniqueness and exchange value by signing each other's paintings and using de-skilled compositional techniques that could be repeated anytime.
Labyrinths and temples are two structures pivotal in the vocabulary of Los Angeles-based Karthik Pandian's 16-mm films and architectural constructions. With the weight of an ancient lineage that transcends historical context, Pandian draws in the present, where the monuments take on forms outside of our normal expectations. An early work, Darkroom (2008), consists of a labyrinthine set-up of scaffolding and panels. Within this, projectors screen 16mm film of inter-spliced glimpses of sites in Berlin and L.A. and a voiceover that seductively draws the listener into a realm of nightclubs featuring figures from Greek mythology and makes an analogy to the legendary techno club Berghain in Berlin (darkrooms are found scattered throughout this former power plant). For Pandian, the nightclub is a monument with a sacred relationship to the body, inspiring dancing, repetitive machines.
Cookies, a Botticelli monograph and gold jumpsuits are just some of the disparate objects currently located in PS1's rotating gallery space. Curated by ICI (Independent Curators International) director Kate Fowle, the backroom features a temporary archive of objects and documents contributed by 40 of the Greater New York artists to represent the major influences in their work.
Two slide carousels, 80 slides each, approx. 9-minute loop. Courtesy Callicoon Fine Arts, New York.