Ceal Floyer: ‘What People Do for Money: Some Joint Ventures’
Kim Gordon: ‘ The Historical Exhibition: Sites Under Construction’
Manifesta 11, Zurich
June 11th – September 18th, 2016
303 Gallery‘s artists, Ceal Floyer and Kim Gordon, are participating in the eleventh edition of Manifesta, the European Biennial of Contemporary Art, hosted by the city of Zurich. Ceal Floyer created a new work apart of ‘What People Do for Money: Some Joint Ventures’. As well as, Kim Gordon’s work which was selected to be included in ‘The Historical Exhibition: Sites Under Construction’.
In ‘What People Do for Money: Some Joint Ventures‘ 30 productions were created by international artist’s alongside Zurich locals, showing the relationship of artists engaging in perforative art projects with professionals from outside the art world. Each artistic project will be exhibited in three different ways: at a satellite venue, in a classical art institution and in the form of a film screened at the Pavilion of Reflections. Ceal Floyer collaborates with a local translator, Lorenz Oehler, in her project. The work begins with two interpreters (one male and one female) simultaneously translating a banal English text to each other, in French and Italian. The title of the work, Romance, is a play on Romance languages, and a potentially failed romantic (or at least semantic) relationship. Following the three different exhibition format, Romance, is first iterated as a performance at a University building, continuing during the biennial as both an audio installation, to be experienced at the original performance site, and finally as a sculpture in one of the Manifesta institutional spaces – two empty translator booths which were initially utilized as props for the performance.
Christian Jankowski and Francesca Gavin co-curated the exhibition, ‘The Historical Exhibition: Sites Under Construction‘, that explores the different ways current and historical working worlds have been portrayed in art. In the exhibit is Kim Gordon’s Black Glitter Circle, serving as an imagined piece of evidence on the “rock trance”. Representing the modern type of myth where performing musician’s become in a state of near possession. The shape of the piece portrays the circumference of the performer’s arms “in-spin”- in this case, Gordon’s.
