Home Art Victor Burgin at Cristin Tierney

Victor Burgin at Cristin Tierney


In 1967, Victor Burgin typed some directions on a pair of index playing cards: “A path alongside the ground, of proportions 1×21 models, photographed. Images printed to precise measurement of objects and prints connected to ground in order that photographs are completely congruent with their objects.” He referred to as it Photopath, first realizing the piece on the coarse hardwood of a pal’s house in Nottingham, England. A one-to-one map within the fashion of Borges, the work served as a form of Conceptual catwalk, testing new methods of website specificity, self-reflexivity, and dematerialization. Regardless of fast entry to the canon—abetted by its 1969 inclusion within the London leg of Harald Szeemann’s epochal “When Attitudes Change into Kind”—Photopath isn’t reincarnated; the final time New Yorkers encountered it was within the 1971 Guggenheim Worldwide Exhibition, put in on the museum’s spiraling concrete ramp.

Now, Photopath has lastly returned to an intimate, noninstitutional setting, lent startling prescience in a world awash in simulations generated by text-to-image algorithms. Conceived below the supervision of the octogenarian artist, this one-and-a-half-by-thirty-one-and-a-half-foot model diagonally bisects Cristin Tierney’s small, bay-windowed room (I imagined a large model slicing throughout New York’s Federal Plaza, à la Serra’s Tilted Arc). Guests are inspired to stroll round or step over the picture stream, which is matte completed and, not like earlier iterations, inkjet printed in colour. Burgin has written persuasively in regards to the interdependence of phrases and pictures; each finally betray Photopath, which is all the time destroyed after exhibition. As David Campany notes in his current ebook on this piece, documentation of Photopath—comparable to Elisabeth Bernstein’s pretty set up shot for this present, through which the picture falls like a shadow throughout daylight puddled on the pine ground—turns into inextricable from the work itself. Just like the planks of Theseus’s ship, Burgin’s limen stays ceaselessly suspended between actuality and illustration, reconstruction and void.


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