EUROPA 94

Junge Europäiche Kunst in München
M.O.C.
Munich (A) (09.10-28.10)


Spécialement conçue pour les dimensions de l’espace qui m’a été donné à Munich lors de l’exposition Europa 94, Corridor noir occupe toute la largeur de la salle ; elle est placée à un mètre cinquante de l’entrée. L’espace de la sculpture s’interpose entre le spectateur et une partie du lieu dont elle bloque l’accès.
Distantes de deux centimètres cinq, quarante-cinq bandes plastiques noires (feuillard), servant habituellement à l’emballage industriel, sont tendues horizontalement, de haut en bas, sur un cadre en acier d’un mètre quatre-vingts de haut par six mètres de large. En tension sur le premier cadre, les feuillards retombent librement le long des deux murs latéraux. Chaque bande répandue en désordre sur le sol se connecte, selon un ordre précis, à un deuxième écran situé deux mètres plus loin. L’intervalle entre les deux cadres dépend de la profondeur de la salle d’exposition. Les bandes reposent à la base des murs ; elles laissent supposer que l’espace intérieur de la sculpture puisse s’étendre à toute la salle en écartant les écrans, ou même, déplacé plus loin. Déployées entièrement, les bandes ne pourraient être tendues, leur longueur dépassant largement la profondeur de la salle. Immédiatement appréciable par le spectateur faisant face à la sculpture, la frontalité prononcée des deux écrans est analogue à celle du mur du fond, et son volume intérieur se perçoit en même temps que celui de la salle.

Black Corridor
The sculpture Black Corridor was specially conceived in relation to the dimensions of the space that I had been assigned to me, and it blocked the depth of the space. The sculpture consists of two rectangular steel frames, six meters in length and 1.80 meters high. The two screens are set parallel to each other and three meters apart. A grid of 45 black plastic bands (type used for securing packing cases and industrial packaging) is stretched across one of the screens. The ends of the bands hang loose at the edges, run along the walls lengthwise and are finally stretched over the second screen. The result is that a space of three meters by six meters is blocked off, and one cannot go through it without destroying it.
The sculpture is placed at the entrance to a space that is six meters wide, so that it blocks the entrance. The distance between the two frames depends on the depth of the space in which the sculpture is shown (In Munich, where “Corridor” was presented for the first time, the exhibition room was six meters wide and eleven meters deep ; the two frames were placed two meters fifty apart).
The space that the sculpture closes off behind is visible through the wide grid formed by the horizontal lines of the bands which are stretched between the two frames. One could imagine the sculpture being extended all the way through the space, but even if one frame were pushed to the very edge of the room, the loose bands along the long sides of the walls would never become taut. Stretched out full length, they are thirty meters long. I have never imagined this sculpture in an enormous space. Two closed spaces are visible : there is the one that the sculpture defines as a corridor, and seen through this first one there is the space in which the sculpture Black Corridor is exhibited. As it is set up, it seems as though the sculpture were the outcome of some past act, the ghost of a sculpture that is to be imagined somewhere other than where it is viewed.