Łódź, Muzeum Sztuki: the first Madame B exhibition

Our dream begins to come true: Michelle and I are going to Poland next week for the opening of the first Madame B exhibition - all eight installations, divided over nineteen screens, as described elsewhere, in Installations will be on show for over two months in Europe’s oldest museum of modern art, the Sztuki museum in Łódź. I am going there next Sunday, December 1st. On Wednesday the 4th I will give a lecture in the museum, “How to Tell the Story of Modern Art? Some Theoretical Reflections”. On Friday the sixth is the opening of the exhibition, andSaturday morning, Michelle and I will conduct a seminar about the Madame B project in its installation form. If you are in Poland: welcome!

To get a sense of the people and the place we have the privilege to interact with, this photo shows you the “genealogy” of the contact that led to this exhibition. Clockwise: Daniel Muzyczuk, coordinator of intellectual events and organizer of my lecture and our seminar (with Michelle); Katarzyna Słoboda, curator, and Przemysław Purtak, coordinator; the cover of the Polish translation of my book Travelling Concepts in the Humanities, a fragment of the building of the Sztuki Muzeum, Jarosław Suchan, director, Radosław Pater, technical genius who installs the show; and in the middle the internationally renown curator Adam Budak, whose enduring friendship got me warmed to Poland in the first place.

For more background, see my post of October 22d. And of course, I will post more once the exhibition is installed.

Biennale Lyon

Thursday November 19th I will go to Lyon. I have always liked the city but never visited the Biennial there. So, when I was invited to give the opening lecture of a conference on the occasion of the exhibition, I decided to go for it. Also, the topic is narrative - what more could I wish? I am going to speak about five artists whose work I admire, mostly video. As far as I know, they don’t know one another and their works are very different. But all five “theorize” in their practice the need for, and productivity of, anachronism. So, I build my argument entirely through the artworks.

Although I prefer my own term, “preposterous history” as developed in my book Quoting Caravaggio, this time I decided to adopt the more current term. Since my topic is the relationship between art and the world out of which it emerges, which it addresses, and within which it functions, and, moreover, the always-actual of art is part of my argument, I chose this image for the title page of my power point presentation.