Go­sh­ka Ma­cu­ga As­sem­bling Half-Truths

Art Press - - NARRATIVES -

For Time Fa­bric, her ex­hi­bi­tion at New York’s New Mu­seum last spring, Go­sh­ka Ma­cu­ga set out to make her mo­dest contri­bu­tion to as­cer­tai­ning his­to­ri­cal truth, even if, as she knows, we get on­ly half the truth at best. She the­re­fore set about ga­the­ring ar­chives and in­for­ma­tion in­to a kind of col­lage that could serve as a re­ser­voir of pos­sible nar­ra­tives. Phy­si­cal­ly, the re­sult was five mo­nu­men­tal ta­pes­tries whose themes were re­la­ted to the his­to­ry of the ins­ti­tu­tion. For this ar­tist sculp­ture, dra­wing, ins­tal­la­tion and cho­reo­gra­phy are other me­diums that al­so contri­bute, wi­thout hie­rar­chy, to the edi­fi­ca­tion of know­ledge.

ted a mo­no­logue stit­ched to­ge­ther from fa­mous his­to­ri­cal speeches. This fall, ele­ments of that show came to An­drew Kreps Gal­le­ry in New York, which fea­tu­red works that en­vi­sio­ned the his­to­ry of ideas as a kind of mo­le­cu­lar mo­del that lin­ked his­to­ri­cal thin­kers like ele­men­ta­ry par­ticles across di­verse his­to­ries and cultures. USES AND ABUSES OF GUER­NI­CA For New York au­diences, the most si­gni­fi­cant in­tro­duc­tion to her work took place last spring in an ex­hi­bi­tion at the New Mu­seum tit­led Time as Fa­bric. The cen­ter­piece of the show was Ma­cu­ga’s mo­nu­men­tal ta­pes­tries. Ma­chine-wo­ven from di­gi­tal col­lages pie­ced to­ge­ther by the ar­tist out of his­to­ri­cal and recent pho­to­graphs, news clips and other ar­chi­val ma­te­rials, each of these works tells a com­plex and frac­tu­red sto­ry ori­gi­na­ting in the his­to­ry of the com­mis­sio­ning ins­ti­tu­tion. Ma­cu­ga is alert to iro­nies and pa­ra­doxes and these of­ten be­come the trig­ger that launches a work. The first in the ta­pes­try se­ries is The Na­ture of the Beast, crea­ted for a 2009 ex­hi­bi­tion at the Whi­te­cha­pel Gal­le­ry in Lon­don, where Ma­cu­ga cur­rent­ly makes her home. The trig­ger was Ma­cu­ga’s discovery that in 1939 the Gal­le­ry had hos­ted Pi­cas­so’s Guer­ni­ca as part of an ex­hi­bi­tion in sup­port of the Re­pu­bli­can forces then figh­ting in Spain. This led her to fur­ther dis­co­ve­ries about the uses and abuses of this ico­nic pain­ting, chief among them the fact that in 1955, New York Go­ver­nor Nel­son Ro­cke­fel­ler (who twenty years ear­lier had des­troyed a com­mis­sio­ned mu­ral by Die­go Ri­ve­ra be­cause of its political content), bought one of the three ta­pes­try re­pro­duc­tions of the pain­ting (com­mi­sio­ned by Pi­cas­so from Re­né and Jac­que­line Dür­re­bach), which even­tual­ly made its way in­to the Se­cu­ri­ty Coun­cil cham­ber of the Uni­ted Na­tions. No­to­rious­ly, this cri de coeur against war was shrou­ded with a cur­tain in Fe­brua­ry of 2003 when Co­lin Po­well pre­sen­ted his fal­la­cious jus­ti­fi­ca­tions for the in­va­sion of Iraq. Ma­cu­ga de­ci­ded to ex­tend the pe­cu­liar ca­reer of the Guer­ni­ca ta­pes­try by ins­tal­ling it for the du­ra­tion of her show in the Whi­te­cha­pel gal­le­ry. The ta­pes­try was ac­com­pa­nied by va­rious ar­chi­val ma­te­rials

Newspapers in French

Newspapers from France

© PressReader. All rights reserved.