by Mathieu Copeland

7 April - 11 June 2011 at The David Roberts Art Foundation

Mathieu Copeland is the fourth guest curator invited by The David Roberts Art Foundation to be part of the Curators' Series. Following a desire to not fix in form an exhibition to be, Studies for an Exhibition brings together practices that explore the possibilities of immateriality and the temporal nature of an art object. The question of time and accumulation is adamant to an exhibition that considers a recycling of our current reality as the means to generate transitory new forms.

The exhibition features works and new commissions by Elena Bajo, Emma Bjornesparr, Julia Rometti and Victor Costales, Gustav Metzger, Roman Opalka, Karin Sander and Niele Toroni.
Darius Mikšys’ ‘Behind the White Curtain’ at the Lithuanian Pavilion for the 54th Venice Biennale

Select one or several of the works below and request to hear it from
a member of BALTIC Crew. The list of works and more information is
also available in a free exhibition guide which can be picked up in BALTIC.

* Vito Acconci / Halley II Research Station: First Impressions & the Beginnings of a Conceptual Approach
* Fia Backström / What is Left to do — What is the Right thing to do?
* Robert Barry / Two Parts
* James Lee Byars / Pronounce Perfect Until It Appears
* Douglas Coupland / Untitled
* Nick Currie aka Momus / Bob Newart
* Karl Holmqvist / Untitled, ‘la Voix Humaine’
* Maurizio Nannucci / More Than Meets the Eyes
* Yoko Ono / Word of Mouth Piece ‘I Love You!’
* Mai-Thu Perret / Less Bread! More Taxes!
* Emilio Prini / Untitled
* Tomas Vanek / Particip #39
* Tris Vonna-Michell / 5x7
* Lawrence Weiner / As Long as it Last
* Ian Wilson / Time


16 January 2009 - 15 March 2009
An exhibition by Mathieu Copeland

A Spoken Word Exhibition is solely composed of worded artworks (artworks only made of words to be spoken), to be read by BALTIC Crew members to visitors who ask to hear the pieces. Acting as a voice when addressed throughout the building, the Crew repeat the artworks written and instructed by the invited artists. Not performing, only using language through the act of reading, the works are available only on demand, initiating an exchange between visitors and BALTIC staff.

The exhibition inhabits the realm of the spoken word, addressing the possibilities of art, memory & exhibition making. The exhibition is constituted of artworks that are to be spoken and exchanged as a verbal gesture from one person to another. A Spoken Word Exhibition is an exhibition of the same nature and material as that of the artworks that constitute it, which are words.
Lawrence Weiner’s definitive statement: “last as long as it last” encapsulates most aspects of the spoken word. The artworks only last for the time it takes to read them, generating ultimately an exhibition that only lasts for the time it takes to listen. Time, to borrow Ian Wilson’s very first discussion from 1968, (where he established that his only artistic production would be his discussions) is the essence of an exhibition of the spoken word. Maurizio Nannucci’s definitive statement also encapsulates a deep understanding of the exhibition, affirming our belief that there is ‘more than meets the eye’. Reflecting on the everyday, the statements by Tomas Vanek; the ‘compilation of rants and nonsequiters that might be found just below the threshold of audibility in a western corporate environment’ by Douglas Coupland; or the modern days haikus by Nick Currie all offer a deep perspective into the possibilities of the words. And as a natural complement, both Mai-Thu Perret and Karl Holmqvist – who based their works on pre-existing novels, envisage how the time of the exhibition gives the rhythm for these pieces to evolve.

Fia Backström questions political oppositions using the interrogation ‘what is left from the left’, a piece that resonates deeply with Robert Barry’s qualification of something that cannot be qualified, a dialogue from a left speaker to a right speaker with the middle ground being occupied by the spectators. Tris Vonna-Michell with his piece 5x7 proposes a relation to the standard picture frame and the act of photography, a ratio that in turns becomes the time structure for the verbal delivery, all framing past and present reality. Reality again is the essence of Vito Acconci’s description of a proposed architecture for a never to be realised building, its only existence being in the listeners mind. Emilio Prini’s work resumes the beginnings of any exhibition - an exchange of letters, and announces the path from the written to the spoken.

The spoken word in art comes from a long history, one of its origins being Yoko Ono’s word of mouth pieces initiated in the early 60s. Furthermore through her words stating ‘I love you’ we are confronted by no less than the retro-(and pro)-spective of her entire body of works. Finally, following our desire to leave the words free and expanding, we would invite all to follow the call of James Lee Byars, and to ‘pronounce perfect until it appears’!

An historical exhibition of artist-written recipes prepared as a dinner at Restaurant As on May 18. Restaurant As will prepare a 9-course menu full of eccentric but above all tasty recipes by artists such as Marcel Duchamp and Louise Bourgeois.

P2P by Le Bureau

The exhibition, based on a system of artworks exchange, will highlight the issemination of the work, the context of its visibility, its accessibility and its appropriation. In peer-to-peer, a digital file (music, movie, image or text) available on the Internet, can be downloaded on the hard drive of anyone with a connection to the network. The multiplication of spaces, media and audiences for each element makes it exponentially. This state of affairs existing in the circulation of files over the Internet tends to be experienced throughout the work and its actual exhibition.
The pieces question this process by different ways : either by their size - serial, multiple, copies or declination - involving the loss of the original, either by their subject, when it comes to confuse the issue of copyright, or as part of a wider dialogue with other quotational. It is as much the notion of authorship than the value of the work which appear here as they can be either reinforced or otherwise invalidated by the multiplication of the object or part of the object. The project, P2P will evolve to formalize these issues. The works presented will question this process in several ways: Le Bureau / propose to activate a network of exchange like art centers or museums in different European countries. Initial exhibition presented at the Casino Luxembourg will be able to evolve throughout its life by adding pieces from the network and by removing other works in circulation in this network. P2P, based on how peer-to-peer works, will offer to the viewer a multiple vision of the works and conditions of their presentation.

Pics and more infos here

La diffusion de l’œuvre, le contexte de sa visibilité, son accessibilité et son appropriation seront rendus visibles par une exposition dont le moteur est un système d’échange des œuvres. Dans le peer-to-peer, un fichier numérique (musique, film, image ou texte) mis à disposition sur Internet, peut être téléchargé sur le disque dur de toute personne possédant une connexion au réseau. La multiplication des espaces, des supports et des publics possibles pour chaque élément rend celui-ci exponentiel. Cet état de fait existant dans la circulation de fichiers par Internet tend à être expérimenté à l’échelle de l’œuvre et de son exposition réelle.
Les oeuvres présentées questionnent ce processus de plusieurs manières : soit par leur format – série, multiple, déclinaison ou copie –, impliquant la perte de l’original dans la répétition, soit par leur sujet, quand il s’agit de brouiller les cartes du copyright, ou encore lorsqu’elles sont pensées dans le cadre plus large d’un dialogue citationnel avec d’autres.
C’est tout autant la notion d’auteur que la valeur de l’œuvre qui apparaissent ici, en tant qu’elles peuvent être soit renforcées, soit au contraire invalidées par la multiplication de l’objet ou d’une partie de l’objet. Le temps du projet, P2P évoluera de manière à formaliser ces enjeux.
Le Bureau/ se proposera d’activer durant l’exposition un réseau d’échanges regroupant principalement des centres d’art ou des musées de différents pays européens. L’exposition initiale présentée au Casino Luxembourg aura la possibilité d’évoluer durant toute sa durée par l’ajout de pièces issues du réseau et le retrait d’autres œuvres mises en circulation dans ce réseau. P2P, par l’expérimentation d’une forme d’exposition empruntée au fonctionnement du peer-to-peer, offrira au spectateur une lecture multiple des œuvres et des conditions de leur présentation.

Part of an ongoing programme of pieces investigating the relationship between sculptural objects and duration, Three Short Works in Time incorporates a 16mm film, a live camera feed, spoken word, and a string quartet performing music by Johnny Parry and The Grubby Mitts, conducted by Johnny Parry. Three Short Works in Time, TATE Britain
Andy Holden, Two Short works in Time.
do it : the exhibition between actualization and virtualization, repetition and difference.

do it began in 1993 with a discussion among Christian Boltanski, Bertrand Lavier, and myself in the Cafe Select, Paris. Both artists have been interested in various forms of instructional procedures since the early 1970s, and that evening they spoke of the instructions contained within their own work.

Since the 1970s Lavier has made many works that contain written instructions in order to observe the effects of translation on an artwork as it moves in and out of various permutations of language. Boltanski, like Lavier, is also interested in the notion of interpretation as an artistic principle. He thinks of his instructions for installations as analogous to musical scores which, like an opera or symphony, go through countless realisations as they are carried out and interpreted by others. From this encounter arose the idea of an exhibition of do-it-yourself descriptions or procedural instructions which, until a venue is found, exists in a static condition. Like a musical score, everything is there but the sound.

do it stems from an open exhibition model, and exhibition in progress. Individual instructions can open empty spaces for occupation and invoke possibilities for the interpretations and rephrasing of artworks in a totally free manner. do it effects interpretations based on location, and calls for a dovetailing of local structures with the artworks themselves. The diverse cities in which do it takes place actively construct the artwork context and endow it with their individual marks or distinctions.

It is important to bear in mind that do it is less concerned with copies, images, or reproductions of artworks, than with human interpretation. No artworks are shipped to the venues, instead everyday actions and materials serve as the starting point for the artworks to be recreated at each "performance site" according to the artists' written instructions. Each realization of do it occurs as an activity in time and space. The essential nature of this activity is imprecise and can be located somewhere between permutation and negotiation within a field of tension described by repetition and difference. Meaning is multiplied as the various interpretations of the texts accumulate in venue after venue. No two interpretations of the same instructions are ever identical.

Hans Ulrich Obrist |

Find out more here
This is the Gallery and the Gallery is Many Things
Eastside Projects
27 September to 22 November 2008

Marc Bijl, Chen Shaoxiong, Spartacus Chetwynd & Marte Eknaes, Bill Drummond, Jimmy Fantastik, Peter Fend, Iain Forsyth & Jane Pollard, Liam Gillick, Joseph Hallam, Matthew Harrison, Barbara Holub, ISAN, Ben Kinmont, James Langdon, Kelly Large, Heather & Ivan Morison, Magnus Quaife, SCUPA, Mithu Sen, Support Structure, Mark Titchner, Laureana Toledo & Rain Li, Lawrence Weiner

An evolving space/exhibition

'This is the Gallery and the Gallery is Many Things' is the inaugural exhibition of Eastside Projects, a new artist-run gallery as experimental public space, set at the heart of Birmingham’s City Centre Eastside regeneration zone.

Over a 9 week period the exhibition and gallery space will evolve from a highly constructed ‘empty’ space to a layered and complex gathering of artworks, events and processes in various stages of convergence and divergence. The exhibition purposefully includes a wide range of UK based and International artists revealing different practices and approaches to the production of art in order to produce a unique explosion of ideas and possibilities as Eastside Projects comes into being. This is the Gallery and the Gallery is Many Things sets an ambitious framework for the future of the gallery and a diverse scope of relationships and connections designed to make visible cause and effect in the future life of the gallery.

Three exhibition precedents provide references and an underlying ethos for the first exhibition and continuing evolution of the gallery as an ongoing artwork. El Lissitzky’s Abstract Cabinet, 1926/1930, at the International Kunstausstellung Dresden & Hannover Museum takes the role of the first reference as a clear and radical emergence of the artist-curator generating a constructed environment for artworks by Piet Mondrian, Naum Gabo and El Lissitsky, as an artwork itself intertwined with the selection and integration of other artists works. The second reference is to the 1978-79 Peter Nadin Gallery, by Peter Nadin, Christopher d’Arcangelo and Nick Lawson, which had a continuous exhibition titled The work shown in this space is a response to the existing conditions and/or work previously shown within this space. Artists included Daniel Buren, Peter Fend, Dan Graham, Louise Lawler, Sean Scully and Lawrence Weiner and the artists directly responded to each others’ work developing a cumulative environment. The title of the show is adapted from the third reference exhibition This is the Show and the Show is Many Things, 1994, Museum van Hedendaagse Kunst, Ghent, curated by Bart de Baere. The artists including Honore d’O, Fabrice Hybert, Louise Borgeois, Suchan Kinoshita, Jason Rhoades and Luc Tuymans planned the exhibition through workshops as a joint enterprise, defining relationships between each other and redefining functions of the Museum space.

Nadin’s 1978 project began with the text “We have joined together to execute functional constructions and to alter or refurbish existing structures as a means of surviving in a capitalist economy.” The text forms the starting point for Eastside Projects gallery policy and strategy. Nadin’s exhibition started with the ‘empty’ gallery space and newly constructed wall elements followed by the series of ‘solo’ projects and This is the Gallery and the Gallery is Many Things follows suit in an unravelling of function, design and execution by the practitioners forming the gallery and the invited artists.

This exhibition initiates the examination of the potential of cumulative artworks across the programme of the gallery for the coming years and the potential of a constantly evolving architectural space also in collaboration with the artists and architects connected to the gallery.

Eastside Projects is an artist-run space, a public gallery for the City of Birmingham and the World. It is organised by a founding collective comprising Simon & Tom Bloor, Celine Condorelli, Ruth Claxton, James Langdon and Gavin Wade, who first conceived and now runs the space.

Eastside Projects is a new model for a gallery, one where space and programme are intertwined: a complex evolving programme of works and events starting from radical historical positions. We aim to commission and present experimental contemporary art practices and exhibitions. The artist is invited to set the existing conditions for the gallery. Work may remain. Work may be responded to. The gallery is a collection. The gallery is an artwork. The artist-run space is a public good.
Jeremy Deller - Procession - Manchester International 2009.

On the opening weekend of MIF 2009, thousands lined the Deansgate mile to witness a uniquely Manchester procession created by Turner Prize winning artist Jeremy Deller. Over 12 months Deller had been out and about meeting and researching communities across Greater Manchester, seeking out unexpected stories, characters and traditions.

Procession comprised over 25 elements, each developed in partnership with a local community or group; their stories contextualised and made vivid by an accompanying exhibition at Cornerhouse and an online project led by Let’s Go Global: Manchester Procession Online.

Vintage Deller and, somehow, pure Manchester Charlotte Higgins – The Guardian

"Art isn't about what you make, but what you make happen." Jeremy Deller.
"I love processions – as humans, it’s almost part of our DNA to be instinctively attracted to big public events that bring us together. A good procession is in itself a public artwork: part self-portrait and part alternative reality." Jeremy Deller.

More informations on
See pictures on
Be Glad For The Song Has No End ~ A Festival of Artists’ Music

Curated at Wysing Arts Centre, Cambridgeshire, 11th Sept 2010.

Artists performed on the Boulder Stage - a sculptural stage built by Andy Holden and the Amphis Stage, an artist-built structure made from reclaimed timber.

Headliners are Martin Creed and His Band The Turner Prize winner's post-punk conceptual set.

More art-music fusion highlights include Bob and Roberta Smith's Apathy Band with live music and narrative monologues, Juneau Projects, Sue Tompkins, Die Kunst and many more. The festival runs from midday until midnight with performances on both stages. Alongside is a cinema programme of films featuring works by artists that use music or sound.


Maison populaire, Montreuil.
19.01-26.03 2011
Curator : Raphaële Jeune in collaboration with Frédéric Neyrat (philosopher).

A series of 45 one-day exhibitions.
Every artist is invited, the time of day, with a work, an installation or a protocol chosen in answer to the context. This short time, (between the previous propositions and the following ones), allows to envisage the artistic intervention otherwise in a collective display exhibition. This series of interventions bring to light the artist's process.

More informations here .

Follow the artists on live-streaming here .
BYOB is a celebration of the new world we live in and a glimpse of what computing could look like in the future. Today the internet is confined to screens. Tomorrow information will surround us, composing our surfaces, defining our spaces, enmeshing itself with the ether. A moving image is never an object, and when it is coupled with the increased flexibility of portable projection, the realm of experience quickly expands.
Bring Your Own Beamer
by Raphaël Rozendaal

January 25th - 1st April 2007 at the Kadist Art Foundation, Paris.

Curated by: Adam Carr

Participating Artists: Olivier Babin, Robert Barry, Johanna Billing, Pierre Bismuth, Marcelline Delbecq, Jason Dodge, Ryan Gander, Isabell Heimerdinger, Jiri Kovanda, David Lamelas, Kris Martin, Jonathan Monk, Dominique Petitgand, Dan Rees, Mungo Thomson, Mario Garcia Torres, Elin Wikström, Jordan Wolfson

Some Time Waiting is a unique exhibition that brings together the work of over 15 international artists. Uniting both thematic and conceptual approaches to exhibition-making, the exhibition focuses on works that explore notions of waiting, delay and anticipation. In addition, the central ideas addressed by the included works serve as the premise for the actual setup and installation of the exhibition itself.

During the exhibition run, Some Time Waiting will encompass different arrangements of artists and their work by way of a changing display. This follows from the provisional and temporal nature of a number of the included artworks, or a distinct change in the treatment of the exhibition: from a preceding solo presentation of the work of Mungo Thomson (January 25th - February 11th 2007) to the setting and environment of a group exhibition, structured in response to the work and as a means to overcome the spatial limitation of the exhibition space. In doing so, the exhibition aims to investigate the idea of a group exhibition as a programme that aspires to transcend the notion of art presentation as a static and unalterable configuration.

A number of the works included in the exhibition turn to the subject of waiting as a utopian gesture, in particular, being reflective of an optimistic outlook for the future. Other pieces induce feelings of ambivalence, uncertainty or despair; or remind us that waiting can be much more than just an innocent game of patience, but rather an indicative outcome of a political reality suppressing and hindering our daily progress. Fundamentally, what defines and characterises the artworks is a particular performativity and latent inaction, which sets to animate the exhibition space and thus position viewers as 'active' spectators rather than passive or ancillary subjects.

January 25th - February 11th 2007
Mungo Thomson > Between Projects

February 16th - April 1st 2007 (window space: 24/7)
Pierre Bismuth > Coming Soon

Feburary 16th - April 1st 2007
Olivier Babin, Robert Barry, Johanna Billing, Pierre Bismuth, Marcelline Delbecq, Jason Dodge, Ryan Gander, Isabell Heimerdinger, Jiri Kovanda, David Lamelas, Kris Martin, Jonathan Monk, Dominique Petitgand, Dan Rees, Mungo Thomson, Mario Garcia Torres, Elin Wikström, Jordan Wolfson
Hypnotic Show created with Raimundas Malasaukas at Repetition Island:

Repetition Island is a project at the Centre Pompidou curated by Raimundas Malasauskas.

An Interview with Marcos Lutyens (The Hypnotic Show)

LW: I was wondering about the place of The Hypnotic Show on Repetition Island. I understand that hypnosis works through techniques of verbal repetition and also that a lot of people attended quite a few of the shows - so in that way there was this kind of short-term and long-term repetitive hypnosis going on. Regarding this what effect do you think that the format of Repetition Island had, that would not have occurred with a one-time show type of situation?

ML: The hypnotic show was perfectly suited to Repetition Island. Apart from mirroring, as you say, the repetitive nature of inductions that work by stacking suggestions on top of each other, being able to repeat the show for 6 days in a row allowed us to investigate the different aspects of the ‘Hypnotic Show’, which we had not been able to achieve during the one off performances in New York, San Francisco, Amsterdam and at the Kadist Foundation in Paris. We also had the advantage of working with some of the same volunteers, which enabled us to deepen the trance state from one day to the next because the subjects had more of a predisposition to access their unconscious minds after the first session. This was especially true in the case of Christian who I placed in a cataleptic trance on the fourth night, as on the third night he proved to already be a deep trance subject.

The results of a deepening trance on repeated nights gave the volunteers a more involved exposure to the ‘exhibitions’ we were presenting to them in a trance state. This was expressed as a growing connection in neural pathways of overlapping senses of smell, taste, touch, etc. This reminds one somewhat of the 19th century poets and writers such as Rimbaud and Baudelaire who investigated the confluence of sensorial inputs such as sound and colour, and especially how sensations of light could be stimulated through hearing.

This deepening of sensations was particularly apparent with Carey Young’s Hypnotic Spiral exhibit, as by the third night, sensations were embodied and there was a growing sense of ‘becoming’ what was being suggested, such as the subject feeling himself to be butter or blue cake icing. Christian, the volunteer on the third night had an exhilarating sensation that he likened to riding his bike at full speed.

Another advantage of working over several evenings was that the general process seemed to take on a momentum of its own, whereby the idea of some kind of hypnotic spectacle wore off and was replaced by more of an objective examination of the unconscious as it relates to the implanting of art within the mind.

LW: Have you ever experienced a hypnotic exhibition? What was it like?

ML: No I have not really been at the full receiving end of a hypnotic exhibition, though early on I had a home implanted in me very convincingly….I have always ‘ridden down’ with those I hypnotise, descending into a sympathetic trance, so I can better guide those in a hypnotic state. There was a moment on the third night when I almost fell off the stage as I began to lose my sense of balance and orientation within the conscious world.

LW: How would you describe the feeling of creating these exhibitions? Do you experience them as well? Is it like being a docent in a museum where you know things and can see things that regular visitors don’t?

ML: The exhibitions ‘content’ is actually derived from artist scripts of the exhibitions that they would like to have implanted. The scripts were submitted to Raimundas and then he and I decided upon the exhibiting strategy:

These are the shows in which ’exhibited’ the following submissions:

Night 1: Deric Carner , Joachim Koester, Carey Young

Night 2: Carey Young (focusing more on the spiral show)

Night 3: Carey Young

Night 3; Carey Young

Night 4: Carey Young (extreme catalepsy induction) Also Induction in Exhibit Hall of Etienne Martin’s work.

Night 5: Carey Young (deja vu)

Night 6: Raphael Siboni

I feel that the exhibitions are a construct that already exists and I am guiding people through something that is already there and perhaps has been there for a long while. However, thanks to being able to repeat the process several times, I myself also discovered many new things about the exhibition that I would otherwise not have known about. The exhibits became much more multi-sensorial with each visit. I think the division between curator, artist, docent, visitor gets completely blurred as the exhibit is projected into a kind of collectively experienced place within a subliminal state. Certainly some of the ‘visitors’ in trance saw things that I was not aware of and this fed its way back into the next day’s hypnosis.

The Hypnotic Show at the Silverman Gallery, SF : [/b] Exhibition views and FAQ
The Hypnotic Show: Group Exhibition and Performance Curated by Raimundas Malasauskas

For Hypnotic Show, Raimundas commissioned several artists to create immaterial artworks to be tangibly experienced under hypnosis. While only a couple of contributions are drawings or images, the main submissions are succinctly drafted text pieces. These are descriptive texts detailing encounters with phenomena and art, written as instructive walks or detailed travels. The hypnotized wanderer enters in and out of scenes, encountering images, objects, and situations of different kinds. Like in dream state, many times these encounters suggest the hypnotized to define or name things, even on occasions to take authorship of certain artworks or moments that they come across.

Article by Sofía Hernández Chong Cuy :
Blow and Suck

Martin Creed interviewed by Jérôme Sans.

JS: How do you consider music inside your visual art work?

MC: To me they are almost the same. The music is an attempt to make something for the world—just like the visual work. It comes from the same desire to make things and show them, the desire to say hello, to try and communicate somehow. But there are differences between the visual and the audio works, partly because I play the music live in front of people. That makes a big difference.

JS: Is it because it is a performance?

MC: Yes. It is theatre. But I think it has to do with the freedom of the audience, or the lack of freedom. One of the things I like a lot about visual work is that the audience is often very free. Free to look at a painting for one second and then look away. When a band is playing, it is more difficult to look away. I mean you have to leave the room to get away from it. And so for me there is a lot of fear involved in playing music. When you play a piece you are asking someone to sit through it, to be patient. That makes it very different. And I think in that sense the music I make is very traditional music, very theatrical, in a normal way.

JS: Do you think the audience for visual art understands your musical practice and vice versa?

MC: I think that sometimes people find it difficult to make the jump from one to another, I think the reaction to music is often more instinctive than the reaction to visual work. I mean I am not sure, but I think when you look at things maybe you stop to think a little more than you do when you hear things.

Find out more on :

"Poem for Tables, Chairs, Benches, etc." Shinichi Takeda.

"Poem for Tables, Chairs, Benches, etc." Shinichi Takeda.
"Poem for Tables, Chairs, Benches, etc." Shinichi Takeda.

From my house (Nara) to Suita Cultural History Center (Osaka) by bus, by train and on foot, 19 June 2010.

35h Curated by Le Bureau

A 35 hours exhibition.

15 days performance.

15/05-14/06 2008
Performance by Abraham Poincheval
Gallery In Situ. Fabienne Leclerc.
... de rester une nuit entière en slip, mais armés d'élastiques sous une gigantesque cage en mousseline infectée de moustiques aménagée dans la galerie...
Ils vont rester enfermés dans les sous-sols de la Station du 28 Mars au12 Avril. Les deux caves séparées mais contigües dans lesquelles chacun va séjourner évoquent des cachots plus que des cellules...

Santiago Sierra: Person Remunerated for a Period of 360 Consecutive
Hours. 17 September – November 2000.
P.S.1, New York.
Roman Ondák : Measuring the Universe (2007)

Over the course of the exhibition, attendants mark Museum visitors' heights, first names, and date of the measurement on the gallery walls. Beginning as an empty white space, over time the gallery gradually accumulates the traces of thousands of people.