Roman Vasseur installs a temporary interior architecture that privileges the ‘meeting’ as performance and as art — an art that seeks an epic address.
The installation’s design is informed by a correspondence between Vasseur and Christopher Gibbs, the famous aesthete and set designer for cult 1968 film Performance. Gibbs was asked to reflect on the hermetic spaces of the film that suggested an erotic nucleus to both the counter-culture that the film captured, and the private interests of that time which sought to reformulate their power in the shifting economies and class structures of the late sixties.
Fragments of rituals and spaces of commune arrive with the viewer as both background and as a form of accelerated archeology. The salon, the gallery and the executive meeting room are collapsed together in the construction of a space where ideas, as art, seek ascendancy, dispersal and sovereignty. Vasseur delivers political material within the exhibition as a fiction — dormant artifacts or sculptures around which publics are manufactured and assembled
The exhibition extends into the offices of Cubitt where a text painting is installed as a mantra for the host organisation’s members and administration.
A specially commissioned text by curator and writer Matthew Poole will be released as a PDF on Cubitt’s website midway through the exhibition.