original/ghost/variety/shifted/double/echo
Solo exhibition of paintings, drawings and installations, questioning the dominant modes of historicising Modernism, through a dialogue with overlooked British Constructivists and Systems artists, including Marlow Moss and Gillian Wise.
- Submitting institution
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Kingston University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32-09-2035
- Type
- M - Exhibition
- Venue(s)
- Museum Haus Konstruktiv, Zurich, Switzerland
- Open access status
- -
- Month of first exhibition
- February
- Year of first exhibition
- 2017
- URL
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https://www.hauskonstruktiv.ch/enUS/exhibitions/exhibition-archive/2019-2016/-/events/archives-2017/2017/andrew-bickbroriginal-ghost-variety-shifted-double-echo-et276.htm?rl=3
- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
-
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- original/ghost/variety/shifted/double/echo is a solo exhibition by Andrew Bick held at Museum Haus Konstruktiv – the sole cultural institution
in Switzerland specialising in the intersection of constructivist, concrete and conceptual art. By bringing together a body of existing and new paintings, drawings and installations, created specifically for the exhibition, Bick aimed at questioning the dominant modes of historicising the legacies of Modernism, through nurturing a dialogue with overlooked British Constructivists and Systems artists, including Marlow Moss and Gillian Wise. Bick also curated the exhibition, and developed it through direct correspondence with artists and thinkers belonging to, or affiliated with, the aforementioned movements; secondary literature reviews of related publications; visits to archives in Switzerland and the UK; and consultations with art historians as well as the director of Haus Konstruktiv, Sabine Schaschl. In addition, a key research method employed by Bick was his collaboration with Zürichbased architectural practice Luvo Architects. Through this synergy, Bick created a bespoke shelving system on which he placed a series of 31 rubber-stamp drawings laid out using the Fibonacci sequence – a contemporary reinterpretation of Modernist seriality. The idea of ghosts, variations, shifts, nuances and echoes was used by Bick as a visual device that connected the works in space (non-representational visual forms), but also as a conceptual devise that revealed the hegemonies of North-American Modernism and its delimited reading of geometrical abstraction. Bick’s hybrid artistic and curatorial research drew connections with prior curatorial exercises and experiments relating to concrete art (e.g. Helmhaus Zürich, 1960; Hayward Gallery, 1980) in order to propose a new model of interpretation that has highlighted concrete art’s plurality as both an historical and a contemporary approach. This research has also been disseminated through an essay, a conference presentation, and the publication of a new monograph titled original/ghost/compendium (Berlin: Hatje Cantz, 2020).
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
