The darkened space hosts two screens across from each other. While on one screen the film runs forward, on the other it runs backward. Behind these, to one side, run the credits of the film which reveal also the significance of its locations; forwards and then backwards again, endlessly.
The dialogue will focus on what knowledge can be produced by art, and how the unknown can be a productive incubator in times of crisis. On the heels of the screening, Marian Goodman Gallery presents in New York the film in a solo exhibition which runs until 21 December 2018.
Immersing the spectator in site-specific installations that she herself compares to “studio visits,” both intimate and in flux, US artist Sarah Sze combines intricate systems of objects and images across multiple mediums, from sculpture to painting, drawing, printmaking, and video. On the occasion of her first solo show in an Italian gallery, the artist talks of arranged randomness; balancing craftsmanship and technology; and how Rome and rocks can narrate the experience of time.
After the closing night of the series I WANT TO LIKE YOU BUT I FIND IT DIFFICULT—the curated musical events at Fondazione Prada—Craig Richards and Robert Henke (Monolake) discuss the intersections between music technology, architecture and performance.
Jessica Vaughn investigates the social lives of everyday objects and materials: how they speak beside and beyond themselves; the ease with which they are overlooked because of their concrete functions; their value systems; their interactions. In conversation with Eliel Jones, the artist discusses processes of representation, reproduction as fabrication, the materiality of labor, and how all these inform her latest show, Exit Strategy at Emalin, London.