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Marie Auvity curated projects

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window 42 1999 - 2001 Project space (independent non-for-profit organization) located in 42 New Oxford Street in London. This project was possible thanks to the collaborations of Uwe Middel (artist), Johnatan Viner (curator) and Charlie Birch (artist). Established in 1999, window 42 was an independent art project space which provided artists with the opportunity to produce and show media-specific and context dependent works. From 1999 to 2001, window 42 occupied a former storefront window in the heart of one of London’s busiest commercial districts, offering an exciting and unique venue. Open 7 days a week from midday to midnight, window 42 offered a full public accessibility to contemporary art. Confronted to the different artist’s projects following each other, the audience was often interested, sometimes incredulous or even hostile. Free from commercial and institutional obligations, window 42 operated as a forum for contemporary art and as a laboratory for contemporary art practitionners. Constantly renewed, the space was re-invented with each new project. During those 2 years, window 42 showed an international programme of young and emerging artists and collaborated with independant curators like Sébastien Pecques and its nomad gallery A48 (1999) and Marc-Olivier Wahler for the exhibition transfer, art in the city space (2000). For more information : www.window42.org

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Programme 1999 - 2001 Marie Auvity, Someday..., video installation 27 September - 03 October Nigel Grimmer, No place left to go, installation 04 October - 10 October Uwe Middel, Head, painting 18 October - 24 October Anna Adahl, Palais Royal, photograph 11 November - 17 November Julien Prévieux, Crash test, video installation 25 November - 31 November Armèle Portelli, Sans apparence, installation 15 November 1999 - 01 December 2000 Sébastien Pecques, The players, digital prints 02 - 14 December 2000 Gérald Petit, Funny not much, photograph 15 December 1999 - 04 January 2000 Urban Danzig, Instructions for Dreaming Sweet, installation, 28 February - 31 March 2000

Ian Whittlesea, wall painting, 06 mai - 12 juin 2000 Transfer : Art in the city space (London) Posters by Simone Decker, Peter Garfield, Peter Land and Erwin Wurm, partner in the exhibition «transfer», Bienne (CH) 15 June - 31 August 2000 Christoph Büchel, For sale, installation sonore, partner in the exhibition «transfer», Bienne (CH) 15 June - 31 August 2000 Elizabeth Price, Hearse, installation photo 17 November - 15 December 2000 Gianni Motti, The big Crunch Clock , sculpture 21 December 2000 - 30 January 2001 Catherine Harper, Queenie knits one, purls one, performance 14 June - 17 June 2001 Margot Montigny, Untitled (postmodern), photographie 27June - 26 July 2001 Anna Adahl, Elmo, installation vidéo 12 August - 06 September 2001

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Nigel Grimmer, No place left to go, installation 04 October - 10 October 1999 Grimmer often uses an installative approach to photogaphy and video, cleverly incorporating some major and less well known icons of popular culture. No place left to go continues his series of installations of english pop cultural artefacts.

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Elizabeth Price, Hearse, photograph, 30x40 cm 17 November - 15 December 2000 Hearse at window 42 is the latest in an ongoing series of photographs by the artist and follows Hearse at 3 Month Gallery - Liverpool (1997), Hearse at Cambridge Dark Rooms (1998) and Hearse at Arthur. R. Rose - London (1999). Price’s practice centres on the mundane and commonplace, through actions and events she reveals the unpredictable potential of the quotidian. Setting precise criteria and parameters at the outset of her various projects Price then allows the work it’s own trajectory the outcome of which is impossible to anticipate. Indeed the artist often “ups the ante” by creating works that continually defer their own and ultimate conclusion: consider Price’s work Trophy, a cup that does no more than commemorate it’s own exhibition with a new inscription each time it is shown. Be it a 24 hour drawing or a year long archival project like Dot, a recent project involving the setting up of an archive of artist’s work, Price’s precipitive practice hightens our perception of the incremental and renders the prosaic peculiarity fascinating.

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Catherine Harper, Queenie knits one, purls one, performance 14 June - 17 June 2001 Queenie knits one, purls one is the latest in an ongoing series of perfomances in which Harper stars as her alter ego, Queenie. For window 42, Harper as Queenie will sit in residence for a week long ‘drag knitting’ performance from 4pm to 10pm each day. As with most of her performances, Harper engages Queenie in traditional feminine crafts and repetitive labours in the epitome of exagerated glamour. Harper has developed Queenie from a long term engagement with textiles and her previous work includes a series of ‘gender-variant’ undergarments such as her ‘Antler Bra’, a horned corset titled ‘My Desire has Horns’, and a series of ‘hermaphrodite Y-fronts’. If Freud wrote that women invented weaving to make up for their lack of phallus, then Harper as Queenie inverts that glorification to rest on her own labour and enterprise.

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Urban Danzig, Instructions for Dreaming Sweet, installation 28 February - 31 March 2000 After graduating from universitet nauki imeni Lenina where he studied mechanical engineering industries and psychology, Danzig became involved in artists activities in the late 1960s. Using his knowledge, he started to build automated objects to approach an audience directly on a psychological level. Instructions for dreaming sweet features a replic of Danzig`s legendary «psychoelastic arrangement». This hypnotic machine was banned by the authorities for it`s subversive effect on the audience, when it was first publicly shown in Leningrad in 1976. Danzig went into exile in West Germany in 1979, where he carried on working as an artist. In 1983 he formed the experimental Rockband «Achterbahn».

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Ian Whittlesea, wall painting 06 May - 12 June 2000 As in previous work Whittlesea has taken fragments of a published text as his subject. In this new work he presents the viewer with a series of quotes adapted from William Jamesí book The Varieties of Religious Experience (1902) which describe the four qualities of a mystical experience. Whittlesea produces the text using a hand cut stencil. By employing the commonplace typeface Helvetica Bold and a limited palette of black and white he brings an acute formal consistency to his text works and in doing so heightens our awareness of the formal qualities of the text, destabilising the hierarchical relationship between word and image. Although Whittleseaís work exhibits a high degree of precision both formally and conceptually this does not limit possible interpretations . His careful consideration of the relationship of this new piece to itís immediate environment opens up a particularly rich and expansive set of dialogues. The work describes a state that is profoundly unpurchasable, providing a counterpoint to the permanent commercial signage and advertising found along New Oxford Street. The work sets itself aside from the stream of commercial transactions that take place in this busy district while at the same time heightening our awareness of them. William James description of mystical experience bears an uncanny similarity to how we might describe our modern day encounter with a work of art.

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Gianni Motti, The big Crunch Clock , sculpture 21 December 2000 - 30 January 2001 The big crunch clock was launched for the first time the 1st january 1999. With its 20 digital number, the clock is decounting the 5 milliards years before the explosion of the sun. After claiming responsability for events such as earhquake or total lunar eclipse, Motti confronts us this time with our own millenarian fears. Gianni Motti, whose art often makes free use of the public domain, loves to play with events. Infiltrating the 53rd session of human rights conference as the indonesia delegate, campaigning for the american election or inviting the colombian president to psychotherapy seance, Motti’s work may at times ressemble a practical joke, but it campaigns subtly and incessantly against a society that is reluctantly seeking to effect change or at the very least confronts individuals with unconfortable questions.

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Transfer, Art in the city space (London) Christoph Büchel, For Sale, sound installation 15 June 2000 - 31 August 2000 As a partner in the exhibition «Transfer» to be held in the city of Bienne, Switzerland, Window 42 is pleased to present a new set of poster works by artists Peter Land (Denmark), Simone decker (Belgium), Peter Garfield (America), and Erwin Wurm (Austria). Window 42 will act as an agency for the London Distribution of these specially commissioned fly-posters that will be simultaneously on view in the streets of Basel, Berlin. Bern, Dijon, Geneva, Hamburg, Neuchatel and Paris. Window 42 will also present an audio work by swiss artist Christoph Buchel. For this project Buchel has had a telephone line installed into the gallery, the number of which will appear on a series of fictitious sales and letting notices placed on properties throughout the city of Bienne (these include municipal buildings, churches, cafes, museums and shops). By connecting this telephone line to a public address system, Buchel intends to broadcast directly onto New Oxford Street the responses elicited by the provocative act of putting the city of Bienne up «For Sale». Transfer aims to present works that graft themselves onto already existing city infrastructures, thus emphasizing the complex vernacular of the city.

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Timeline 2005 Project in two parts organized in collaboration with THE STORE between October 2004 and November 2005 www.time-line.tv online exhibition from 22 nd October 2004 to 22 nd April 2005 Timeline vol. 2 exhibition from 3rd to 13th November 2005 Bétonsalon-Paris Timeline was an exhibition that took place not in space but in time, incorporating several intertwined narratives. Over six months, artists involved in the project constructed - or deconstructed - a story in various shapes and forms. Each piece was made of six A4-size pages, each of them an episode. All of them were released one by one each month as downloadable pdf files. Spectators thus became «users» involved in the work in progress by being able to print the pages on their favorite type of paper, cut them, put them together, put them up, distribute them... In 2004, Timeline was also presented in the following events : - Occupation #1, MAC/VAL, Vitry-Sur-Seine - Salon des éditeurs lights, point éphémère, Paris

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Rémy Bosquère, consultation device, exhibition view Occupations #1, MAC/VAL , Vitry-Sur-Seine

Artist’s projects: Marie Auvity, The Blue Hour Case, installation Sylvie Barré, La Rencontre, texts Isabelle Cornaro, About Mysterioso, six short stories in a chronological order, photographs DHS, De Hors Série, documents Guillaume Dufresne, This is That, slates Latifa Echakhch, Espace, documents Elise Florenty, Because all the dreams I had stopped at the sixth picture, drawings Ryan Gander, Before this Reckoning, photographs Jean-François Guillon, avant dire, texts John Isaacs, Impossible Dreams, posters Audrey Marlhens, Télé féérie, photographs Shiro Masuyama, Diary at Künstlerhaus Bethanien, diary Uwe Middel, wallpaper, 6 paterns of wallpaper Fleur Noguera, L’univers parallèle de l’éléphant, drawings Karol Pichler, Dum Calet (Tant qu’il est chaud), objects Julien Prévieux, Gestion des stocks, drawings Elizabeth Price, In The Absence of Mrs. Petersen, documents Sal Randolph, RECIPE/RECETTE, recipees Hector de la Vallée, Les Animaux Morts, drawings Ian Whittlesea, Thinking about Yves Klein, texts Virginie Yassef, Scénario fantôme, photographs

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Uwe Middel, wallpaper, exhibition view Timeline vol. 2, Bétonsalon, Paris

exhibition view Timeline vol. 2, Bétonsalon, Paris

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exhibition view Timeline vol. 2, Bétonsalon, Paris

Guillaume Dufresne, This is That, slates, exhibition view Timeline vol. 2, Bétonsalon, Paris