Ghost Stories of the British Museum, a project by Noah Angell and Francis Gooding—initiated in 2016, first exhibited at Rib in Rotterdam—documents the rich internal folklore of haunted spaces, unquiet objects, and inexplicable occurrences that has long circulated privately among the British Museum’s former and current employees.
Starting from its title, Kirchgängerbanger, Slavs and Tatars’ exhibition at ar/ge kunst in Bolzano is inspired by Johann Georg Hamann, a German philosopher and prominent figure of the Counter-Enlightenment, known for his cryptic use of language, irony, wit, and juxtaposition of the vernacular with faith.
In Yinchuan, the urgency was to tackle the idea of the environment, a theater of the wind. Together with the curatorial team, we decided to focus our attention on the eastern border of China, given that the history of this extensive territory originated here and that futuristic, megalomaniac plans, such as the One Belt One Road, are moving the barycenter back to this region.
If there is any thematic thread that runs through his body of work shown here, spanning half a century, it is an agile, amorphous style of creating something out of thin air—giving substance to what is not there.
How do technological advancements change what society does with images, their production, consumption, perception, and reception? In this conversation, they delve deep into the analysis of the transformations of our viewing behaviors on the complex modern visuality that shapes the social, political, and cultural aspects of our world.