Date: May 21, 2011
Location: Witte de With, Center for Contemporary Art, Witte de Withstraat 50, 3012 BR Rotterdam
Group exhibition with Antonio (Tonel) Fernandez. To August 7, 2011.
Opening: Saturday 21 May 2011 (6 – 9 pm)
Performance by Goldin+Senneby at 7 pm
Film Screening: Sunday 26 June 2011 (12 – 6 pm)
The End of Money is a group exhibition about time and value. Bringing together works by a host of international artists, this exhibition and its parallel publication reflect upon the fears, hopes, and expectations associated with the end of money and its ominous consequence: the dissolution of an absolute standard of value.
What limits does the economy impose on our collective imagination, and how is the collective imagination responsible for the current economy? The End of Money focuses on the multiple relationships that could and those that should exist between culture and economy. Informing this curatorial project is the utopian notion that, in a world where money has been factored out of the collective memory, other suppressed forms of value may emerge leading to another social bond and a different relationship to time.
Time, Benjamin Franklin famously said, is money. In Marshall McLuhan’s formulation of this statement, money is “stored time”. With this variation, McLuhan meant to suggest that with the clocking of labor, a practice whose origins lie with the Industrial Revolution, time becomes the meta-commodity, that which is ultimately and essentially being traded in money. The time of work; but not necessarily – as Franklin would have it – the time of the worker.
The works included in The End of Money range from reflections on the arbitrary ways in which value is ascribed to things, as in Zachary Formwalt’s video At Face Value (2008), in which a stamp collection is taken as an occasion to explore the historical valuation of stamps as currency; to explorations of the absolute loss of representative value, as in Christodoulos Panayiotou’s 2008 (2008), a monumental pile of shredded Greek Cypriot Pounds, the totality of which the artist was able to acquire when Greek Cyprus adopted the Euro. Other works highlight time, which is a persistent corollary of money in our efficiency-obsessed culture: Maha Maamoun’s short video 2026 (2010), explores the limits of the temporal imagination, revealing how the image of the future is foreclosed by the mind’s over-identification with the present; or Toril Johannessen’s graphs, which quantify the relationship between time and history and as such attempt to de-naturalize our conceptions of it. There is also Fischli & Weiss’ Sichtbare Welt (1987-2000), a series of photographs taken by the artists all over the world, critically evoking a parallel between systems of valuation and modes of representation.
Artists
Alexander Apóstol; Pierre Bismuth; Peter Fischli & David Weiss; Zachary Formwalt; Goldin+Senneby; Hadley+Maxwell; Toril Johannessen; Vishal Jugdeo; Agnieszka Kurant; Matts Leiderstam; Maha Maamoun; Christodoulos Panayiotou; Lili Reynaud-Dewar; Tomás Saraceno; Tonel; Vangelis Vlahos; and Lawrence Weiner.
Curated by
Juan A. Gaitán; assisted by Amira Gad.
Biography: Antonio (Tonel) Fernandez (Havana, Cuba, 1958)
Lives and works in Vancouver, Canada. Solo exhibitions include Nothing to Learn, Galeria Habana, Havana (2011); Some Information is Now Available, Teck Gallery, Vancouver; Tonel, Miart 08, Milan International Art Fair of Modern and Contemporary Art, Paolo Maria Deanesi Gallery, Milan (both 2008); A Music of The Body, Paolo Maria Deanesi Gallery, Roveretto (2006); Tonel, Gallery Paule Anglim, San Francisco (2002); Some of the Houses, Several Documents, the Rocket, Detour 888, San Francisco; and Tonel: Lessons of Solitude, Art in General, New York (both 2001). Selected group exhibitions include Disturbing Narratives: Cuevas, Toledo, and Tonel, Jack S. Blanton Museum of Art, Texas; The Billboard Project (Seeing Peace), San Francisco International Arts Festival, San Francisco (both 2008); Face to face. The Daros Collections, Zürich; Cuba Avant Garde: Arte Contemporáneo cubano de la Colección Farber, Museo Harn, Gainesville and John and Mable Ringling Museum of Art, Sarasota; and Killing Time, Exit Art, New York (all 2007). Tonel graduated in Art History from The University of Havana, Cuba in 1982. He was the recipient of a John S. Guggenheim Fellowship for painting and installation art in 1995 and won the Cuban Artists Fund Award of the Cuban Artists Fund in New York in 2003.
Publication
The accompanying digital publication, edited by Juan A. Gaitán, includes contributions by Dessislava Dimova, Donatien Grau, Dieter Roelstraete and Carolina Sanín. They have been approached with the request to speculate on this theme in their own medium – be this fiction, art history, philosophy or criticism – and to form their own areas of expertise, be these “scientific” or “unfounded.” Documentation of the exhibition will also be included.
Language: English
ISBN: 978-90-73362-98-7
To be made available for free download via www.wdw.nl.
Side-Programming
Film Screening: A selection of historical and contemporary films whose subject is money and time will be screened at Witte de With on Sunday 26 June 2011 (12 to 6 pm). This event is organized by Juan A. Gaitán and Mariska Oosterloo.
Time/Bank: For the duration of The End of Money exhibition Witte de With will accept Time/Bank’s hour-notes designed by Lawrence Weiner. Time/Bank is a project by e-flux: www.e-flux.com/timebank.
Supported by:
Office for Contemporary Art Norway; Cypriot Ministry of Education & Culture; and Pro Helvetia: Swiss Arts Council. With thanks to the Fonds BKVB; The Canada Council for the Arts; and Nationalgalerie im Hamburger Bahnhof – Museum für Gegenwart – Berlin.
Photo: Tomás Saraceno, Endless Big, 2006, C-print, 180 x 120 cm
Courtesy of the artist & Andersen’s Contemporary, Copenhagen
