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Transmission: PROVOCATION

Laurent Tixador

2 Feb

Laurent Tixador, MON Blockhaus

Wednesday 2 February 4-5.45pm

In SHU’s latest series of Transmission lectures they will explore how art can provoke, activate, and antagonise the viewer, without referring to or employing well-known aesthetic and political strategies that seek to produce shocking and immediate affects. They will consider how the concept of provocation is at its most incisive when it is conceived as fluid and unfixed, and discussed and disputed outside the borders of the hoary discourse of the historical avant-garde. They are interested in a provocation in art that is determined by a broad range of factors, external to the physical properties of art.

Each week a member of the Fine Art staff will invite a guest speaker and chair the discussion. This wide-ranging series of talks will, through discussion with the audience, question the concept of provocation and its relation to art.

Guest: Laurent Tixador

Tixador’s projects have a utopian proposition and are often extreme. In 2005 he undertook several expeditions to Greenland, becoming the first artist to reach the North Pole. In 2009, in Total symbiose 4: 1 he immersed himself in a world at once ordinary and mysterious, that of the business enterprises in the heart of La Défense in Paris. In the same year for FIAC, Paris, Tixador presented Jumping Beans, a suspended wooden structure built by the Chapuisat brothers, in which Tixador was to be enclosed during the exhibition. The slightest movement caused the structure to move, like the Mexican beans of the work’s title. In his last docu-fiction film Au bout de 8 jours, filmed in an abandoned army barracks, three squatters play at soldiers with old military equipment, building defensive structures, and are joined by a film crew, which adopts their paranoid utopia. At Galerie du Dourven in 2010 he constructed an immense concrete bunker, on which the gallery appeared to have been built. Tixador lives and works in Nantes.

Host: Sharon Kivland

Kivland’s work is at the intersection of public political action and private subjectivity. Recent works for exhibition include amateur watercolours, copied from memory from postcards; photographs of the smoke of steam trains, the limpid waters of mountain lakes, and the snow on Alpine peaks; and painstaking sketches of women modelling lingerie. Recently she has paid her son an enormous amount of money to fill old school exercises books with lines, as though it were a punishment. The lines are the indexical references to mother/son relations in Freud’s works. Kivland is represented by domoBaal, London, and Galerie Bugdahn & Kaimer, Düsseldorf.


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