The fig sign can also be made to deny a request, as a mode of saying no—it’s a silent gesture of freedom, or modest rebellion. But there is something in it that connects the Greek and the Italian versions of the object and its name, for indeed it resembles the female genitalia (make the gesture while reading these words if you want a female body to appear in your hand).
Dora Budor talked to Francois Roche, a cofounder of the Bangkok-based, French-originated collective New-Territories, a polymorphous architectural organization that was established in 1993 and is fronted by the transgender avatar s/he, on whose behalf Roche speaks here.
This is an anthology of essays that first appeared in The Artist as Curator, a series that occupied eleven issues of Mousse from no. 41 (December 2013/January 2014) to no. 51 (December 2015/January 2016). It set out to examine what was then a profoundly influential but still under-studied phenomenon, a history that had yet to be written: the fundamental role artists have played as curators.
The exhibition, curated by Vicente Todolí, brings together fifteen iconic sculptures, installations, and videos made from the 1990s to the present, along with a new project, Holding the Horizon (2016), a video conceived specifically for the show at Pirelli HangarBicocca.
If a frontispiece is a summation of the themes contained within a text, then the images and recurring motifs in Fitzpatrick’s work point the viewer to the relationship between the body and the house, to the thought of the body as vessel or container, and ultimately to the subject of metaphor itself, the nesting of one concept inside another.