24.11.2016 - 14.01.2017
“The form is inextricably linked to a partner, which is also universal: the force. Without it, the shape would not exist, yet it struggles to destroy it relentlessly. This dialectical couple, integral with the couple formed by Time and Space, continues its conflict from the matter to the art, from the atom to Rembrandt.
“René Huyghe, forms and forces, 1971.
The Pill® is thrilled to announce Marion Verboom’s first solo show in the Middle-East.
Gesh, is an imaginary Sumerian time measurement taken from Don Delillo’s novel Ratner’s Star (1976), where Billy, a young mathematician prodigy, manages to arrive to a secret location to decipher a message allegedly coming from outer space. In Delillo’s novel, the young boy uses this Time reference to make his journey feel four times faster than terrestrial time.
The cycles of iconographic appearance and disappearance are distinctive in the history of Turkey, from the Byzantine era to the present day, which saw iconoclastics and iconodules, Christians and Muslims battle on the battlefield of images.
For her first exhibition in Turkey, Marion Verboom has investigated Istanbul’s Archeology Museum’s archives in order to render the evolution of form in the Anatolian peninsula.
The exhibition will feature, among a series of works on paper, two types of sculptural works, which will construct a spatial dialectic: on one hand columns called Achronies will associate forms and material by stacking elements around a vertical axis, on the other hand, flat folded sculptures will refer to horizontality.
A text by curator and art critic Anissa Touati will be accompanying the exhibition along with scientific contributions of Tate Britain’s Nigel Tallis, curator of the British Museum’s collection of Assyrian and Babylonian artefacts and Luc Bachelot, archeologist and researcher in CNRS in the laboratory “History and archeology of cuneiform Orient”.
“It is a commonplace that to uncover the past as archaeologists we have to dig. The foundation of archaeological interpretation is in deriving a sequence and constructing a narrative from stratigraphy. What is first? What comes later, what is disturbed? Like ice cores, or geological samples or a disturbed stratigraphy from an archaeological site. Verboom’s work is immediately both recognizable but subtly awry. Here, the Hittite lion seems fragmentary and inert, but look more closely and its claws are long and sharp: this is a living, not a dead history. As we struggle to compose a narrative from these clues we realize that we are the archaeology, and in querying our responses, we become the discovery. Such modern works with direct archaeological context force us to reassess what we we think we know, and to look more closely at our fondly classified fragments of the past, as modern and ancient elides more sharply into the study of what we are.”
Curator – British Museum’s collection of Assyrian and Babylonian artifacts.
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