With a certain dose of naivety, we approach the exhibition “Visionaries” with a sense of discovery, attempting to penetrate the minds of collective and individual will.
The imaginary, forever trapped in the complex meanders of brain mechanics is violently confronted with realized actions, constructed worlds and territories, some intimate, some of enormous dimensions and problematic agendas. The curtains open the stage; they suggest that something important is at stake, and that it might exist a backstage where this “something” is being cooked.
Freely borrowing the beautifully tangled mind of another visionary, Mr. Lynch himself, we propose a standard of the hidden and whispered, the curtain, as an all-over operation that we find at the most noble origins of modernist architecture, believing that the undeclared revolution of Mies van der Rohe spaces resides in Lilly Reich’s textile and spatial partitions of the 1927 temporary Café Samt & Seide.
The too defined and troubling architecture of the Culturgest building seems perfect to host a lynchian world of continuous thresholds. A clash of aesthetics to be delicately assembled together, side by side, in order to hide and show a collection of incredible trans-scalar projects. The curtain as clothing (the intimate), the curtain as room (the Wunderkammer), the curtain as space-framing (the theatre stage) and finally the curtain as a gate to surprising encounters with unexpected works.
Screens connects as well with the history of projections, pictures, tableaux of all kinds. Weather painted, printed, projected, filled up or left empty, the walls and floors are supports to frame art and diverse documentation. They are staged or blank frames hosting a variety of works and supports. A collection of “surrogates” (Allan McCollum) frames.