When you see me again, it won't be me
When you see me again, it won't be me
When you see me again, it won't be me
When you see me again, it won't be me
When you see me again, it won't be me
When you see me again, it won't be me
When you see me again, it won't be me
When you see me again, it won't be me
When you see me again, it won't be me
When you see me again, it won't be me

When you see me again, it won't be me

Jagna Ciuchta
€18.96
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With her project “When you see me again, it won’t be me,” Jagna Ciuchta turns the concept of exhibition over. For her the process of creation, as well as the set-up and dismantling are part of the work of art.

88 pages
22 x 16,5 cm
Flexibind
Texts by Damien Airault, Florence Ostende
Languages : French / English
ISBN 979-10-90490-30-7
Publication : March 2014

With her project “When you see me again, it won’t be me,” Jagna Ciuchta turns the concept of exhibition over. For her the process of creation, as well as the set-up and dismantling are part of the work of art. Throughout the different stages of her project, she has the exhibition evolve through different forms. The pictures of the project shown in the book withdraw that exhibitions, just like works of art, go far beyond the limits of time and place.

Diving deep into this young artist’s universe, which first interventions have been warmly welcomed, the book present texts by Damien Airault and Florence Ostende (independent curators and art critics).

In 2012-2013, the series of paintings A Landscape With a Large River, which is shown for the first time, continues “When you see me again, it won’t be me,” and becomes the final evolution of this project.

 

“The sequences of When You See Me Again, It Won’t Be Me are designed to vanish, to become nothing more than memories – to the point where the object disappears, dissolves, replaced by its image. As such, the work is divested of all material constraint, all law, and all turmoil.

More specifically, When You See Me Again, It Won’t Be Me can be perceived as a complex presentation of the exhibition vocabulary. The plinth serves as the starting point. Dismantled, it becomes painting, sculpture, dais, or wall-piece; lent out, it offers guest artists materials for a new sculpture. Its latest transformation now finds it as a mere presentation of its means of storage and transport – in this case, planks cut into various

forms placed in a cardboard box, thus returning to its original parallelepiped form: from plinth to container.”

Damien Airault, When You See Me Again It Won't Be Me.

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