BY LEVI PROMBAUM
In the second installment of the autumn 2014 Frank Davis Memorial Lecture Series, Professor Sarah Wilson considered Centre Pompidou’s re-staging of its seminal exhibition Magiciens De La Terre on the occasion of its 25th anniversary. Wilson began the lecture by proposing that both artworks and exhibitions could change one’s understanding of time. Outside the entrance to the original Magiciens show, Neil Dawson’s steel sculptural installation Globe (1989) depicted an earth with its own pulse and tremendous fragility. It underlined some of the concerns about time and space that energised dialogues between post-structuralist theory and global visual practice in the 1980s and 1990s. Wilson’s lecture situated Magiciens, a show that brazenly sought to challenge Eurocentric values with a survey of contemporary art practice and intercultural exchange on a global scale, within a wider moment that reconceived ideas of virtuality, globalism and memory.
Wilson first placed Magiciens in a series of efforts leading up to 1989 that explored the variety of artistic exchanges in Paris during the first half of the twentieth century, including the Pompidou’s 1981 ‘Paris-Paris’ and Centre de la Vieille Charite’s 1986 exhibition La Planète affolée. These exhibitions, reflected other efforts to reimagine roles for history and the objects that express it. In this regard, one seminal exhibition was Jean Lyotard’s 1985 Les Immatériaux, a companion to his theoretical articulations of postmodernity that favored interactions between sound and technology, the charged exhibition space and its curatorial documents, rather than experiences of discrete objects. Wilson reread some of the objects in Magiciens relationally rather than discretely, celebrating lesser known works by artists including Clido Mereles, Huang Yong Ping and Ilya Kabakov. With this remembering in mind she discussed the organization of Jacques Derrida’s lecture ‘The Concept of the Archive: A Freudian Impression’ (later renamed Archive Fever) at the Freud Museum in 1994.
Using Derrida’s idea that archives are both violent and tender, Wilson turned to the problems and successes of reconstruction of Archive Fever, Les Immateriaux and Magiciens. While the symposium ’20 Years of Archive Fever’ brought back many original participants with new webs of recollections as well as homages to Derrida and his legacies, the Les Immatériaux reconstruction at Kunstverein Düsseldorf offered clarity at the expense of the original show’s energy. To describe Magicien’s restaging, Wilson used painting metaphors. Towards anamorphosis, the show featured disorientations in scale as well as different emphases and juxtapositions. Towards vanitas, Magiciens offered poignant reminiscences of the art world of 1989 as well as an opportunity to affirm its values to a new set of viewers.
While leaving the lecture, audience members were given a poem by Miklós Erdély called ‘Time Mobius’, that spoke about processes of construction and reconstruction at the heart of learning. The last lines declare, ‘Beware of yourself/ That Readying is Ready Already’. By returning to the original circumstances of these exhibitions, and treating exhibitions and artworks as memory devices that activate multiple histories, Wilson’s lecture showed how these self-critical endeavors have been ‘ready already’ for future generations of viewers and readers.