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Trisha Donnelly
The exhibition features a site-specific architectural intervention which ghostly modify the perception of the overal museum and moves from there to different directions, intervening even on the communication modalities of the exhibition itself. Neverthless any analytical description of Donnelly’s show at MAMbo can suffice as either an introduction to or a summary of it.
Generated on another spatial and temporal plane (an audio video recording of the Baroque Teatro Anatomico at Bologna’s Archiginnasio Library), the show lies outside of and moves toward and beyond its own spatial area and temporal momentum, intercepting and shifting on other symbolic as well phisical planes.
In line with a certain tradition of institutional critique and Conceptual Art Donnelly is in favor of a purification of the information that surrounds an exhibit which, like the works of the artist, represents an event which cannot be fully deciphered, an experience which requires a limited use of standardized or mediated means (“television versions”) in exchange for more evocative, personal ones imbued in the more intimate sphere of perception, memory, intuition.
Within this context, this show and everything that surrounds or precedes it (press releases or advertising announcements, invitations, guides for visitors or web pages as this one, etc.) marks the beginning of what we could define as a re-load (say also “re-enchantment”) of the space and time of the museum, the exhibit and the corollary institutional world.
Trisha Donnelly
