“5779”, 12/12, Marie Cool Fabio Balducci “Untitled”, 2008
curated by Nicola Trezzi
Marie Cool Fabio Balducci
roll of wrapping paper, desktop, 220 x 100 cm
video document 59 secs
As often happens in the work of Marie Cool Fabio Balducci, the action is its protagonist. In the specific case of Untitled (2008) the action, or the gesture, derives from the function of the tape repairing/putting together two parts that were separated. In this case the person functions as tape in a political relationship with a common destiny. In the practice of Marie Cool Fabio Balducci both politics and economics, not to mention the idea of individual and her/his “role”, are notions particularly important; however, they aredeveloped between abstraction and “doing nothing,” in a placewhere the gesture is always contrived/reduced (not minimal) exactly by the issues at stake.
Marie Cool Fabio Balducci’s Untitled is the twelfth and last chapter of “5779,” the exhibition project opening the first season of BUILDINGBOX, which is an independent space within the premises of BUILDING, characterized by its own unique program. The opening project, curated by Nicola Trezzi, opens on the week of Rosh HaShana, which is the beginning of the new year – the year 5779, as the title says – according to the Hebrew calendar.
Following these premises, a window gallery which is visible 24/7, and a calendar which consists, for this year, of 13 months (Nisan, Iyar, Sivan, Tammuz, Av, Elul, Tishrei, Marcheshvan, Kislev, Tevet, Shevat, Adar Aleph and its intercalary Adar Beth), “5779” is a group exhibition in which several artworks are not presented next to each other but rather one afterthe other. The structure of the calendar – day after day, month after month, year after year – becomes the guideline for the presentation of artworks by several artists; in doing so, this structure transforms the essence behind group exhibitions, from coexistence and juxtaposition to linearity and procession.
Furthermore, this specific format deconstructs the very core of the group exhibition format, which is, by definition, an exhibition in which several artworks, by several artists, are presented next to each other in a confined space and for a specific amount of time. With “5779” the idea of a group exhibition in which works of art by several artists appear, in the same space, one after the other – substituting one another, replacing one another – suggests an inversion in the equation at the base of exhibition making. Rather than rooting exhibition making into space, as it usually happens, this time the exhibition is rooted in time rather than space.
To reinforce the predominance of time over space, a complete overturning of exhibition making and of its premises, is the decision to display artworks that are not only on view 24/7 but also that are ‘fed’ by electricity – neon signs, works with light bulbs, videos, etc. –, works that are independent sources of light, “small suns” (although the Hebrew calendar is not purely solar but “lunisolar”) giving the rhythm of time.
Marie Cool Fabio Balducci’s Untitled will remain on view until September 29, during the last days of Elul. At the end of the 13 months (5779 is a leap yearand has Adar Aleph and its intercalary month Adar Beth) BUILDING will present a catalogue conceived as a calendar and featuring all the 13 artworks presented during the year, which will be revealed month after month.
Marie Cool Fabio Balducci were born respectively in 1961, Valenciennes, France and in 1964, Ostra, Italy. They live and work in Paris and Pergola, Italy. Their work has been the subject of solo at GAK in Bremen (Germany), CAPC in Bordeaux (France), La Verrière in Brussels, Marcelle Alix in Paris, Lulu in Mexico City, Le Consortium in Dijon (France), Synagogue de Delme (France), Sometimes (works of art) in New York, Academie de France/Villa Medicis in Rome, CAC Bretigny (France), South London Gallery in London, Maison Rouge – Fondation Antoine de Galbert in Paris, Mudam Musee d’Art Moderne Grand Duc Jean in Luxembourg, and Catherine Bastide Gallery in Brussels.
They have participated in group exhibitions at Casino Luxembourg, Fonderie Darling in Montreal, Marta Herford (Germany), Mullae Art Factory in Seoul, Kunsthalle Osnabruck (Germany), CAN in Neuchâtel (Switzerland), FRAC Aquitaine in Bordeaux, Museion in Bolzano (Italy), Le Plateau-FRAC Ile-de-France in Paris, FRAC Alsace in Sélestat, Muzeum Sztuki Nowoczesnej in Warsaw, MoMA, Whitworth Art Gallery in Manchester, Fondazione Peccioli (Italy), FRAC Lorraine in Metz (France), and Ecole des Beaux Arts de Paris. They have also participated in recurring exhibitions such as documenta 14 in Kassel and Athens, the 11th Bienal de video y artes mediales in Santiago de Chile and the 2010 Berlin Biennial.