THE MOVE

On Spatial Design of the Four Exhibitions 

The opening of the spatial axis is on the ground floor, which draws together specific works by each artist in the exhibition: a sculpture “I Made a Circuit, then a Second Circuit” (2010) by Rosa Barba, a sculpture-based installation “Symphony” (2012) by Adel Abidin, and a 16mm film “Be The First To See What You See As You See It” (2004) by Runa Islam.

The line of this spatial axis has a sequence of moves that continues into Arter’s upper floors.

The first floor presents the video screening part of Adel Abidin’s “Symphony” (2012), “Hopscotch” (2009), and “Three Love Songs” (2010), framed in the “beyond…” exhibition. In “beyond…”, the exhibition space is modified with architectural elements based on the requirements of the works, whereas on the other floors the architectural adjustments are minimal, allowing the viewer to identify the spatial characteristics of the building. Accordingly, the location of the works breaks the symmetry of the perception of the identical exhibition spaces.

The second floor presents four works by Rosa Barba under the title “annotations”: “Coupez Ici” (2012), “The Hidden Conference: On the Discontinuous History of Things We See and Don’t See” (2010), “Recorded Expansions of Infinite Things” (2012) and “Invisible Act” (2010).

Finally, Runa Islam’s exhibition “dogs devouring horses” on the third floor is named after her work “Emergence” (2011) which the exhibition features, along with “This Much is Uncertain” (2009-2010) and “Cabinet of Prototypes” (2009–2010).