courtyard is an exhibition space.
A place of gathering and experimentation, defined by the projects, contributions and events it hosts at a given moment, and driven by the associations that emerge from these. Visitors are invited to wander across the open space.
courtyard opens with Locus/Lacuna, a new commission by Nour Mobarak.
Inspired by Francis Yates’ book ‘The Art of Memory’, Mobarak tracks the architectural site of a personal memory as an incomplete "memory palace", an ancient mnemonic device, to develop the piece. This device relies on associating information to specific physical environments. The protagonist sets out an imaginary journey over which they visit specific locations – or loci – to recall information. The locus of this memory is the red plush seat. Yet, once entering, there are lacunas- absences in the recording of memory. Each of the tracks of this four-channel sound work underwent distinct processes of degradation and manipulation.
16 Mar 2022
On Using “I” and First-person Narration by Iman Issa with Moyra Davey
For several years now I’ve been engaged in an itinerant conversation with Moyra Davey. It began when I wrote a short paragraph on her film Les Goddesses for Artforum concerning her use of first person narration. At the time, I was thinking a great deal about what it means to use oneself as the source of one’ s work—trying to make sense of the “I” through which we choose to speak and articulate positions, sentiments, and facts. Moyra’ s film appeared to pierce through these issues head on and became a new lens through which to view the rest of her work. Her photographs, videos, and writings completed over three decades started to form a coherent whole in my mind, and I was eager to revisit her work from my newly found angle. Until now, I’d never had the chance to properly unpack these ideas. This conversation is an attempt at doing that.
Iman Issa: One of the key moments that brought me further into your work was seeing Les Goddesses in 2011, both at the Whitney Biennial and during your solo exhibition at Murray Guy. At that time, I was struggling with the use of what one might describe as the “personal voice”. I felt uncomfortable with the enormous leeway an artist can have when using such a voice. As if it gave one license to draw connections between different elements and narratives with no justification beyond the incontestable claim of subjective inclinations. At that same time, I was convinced that certain elements and topics could only be accessed with it. Seeing your work was revelatory; I felt it was using the personal voice differently. How would you describe your relationship to that voice?
Moyra Davey: Fundamentally I’m interested in storytelling, although I don’t often put it like that. Some background on Les Goddesses: I had just moved to Paris for ten months and was flooded with memories of when I lived there at the age of eighteen, and had hugely struggled with the city and the people I knew at the time. I wanted to write about what I considered “unspeakable” memories. That was the idea, the “agenda”, even though a big part of me thought it was impossible. A well-known writer, whose name escapes me, counseled that I should write from a place of the greatest discomfort. Knausgaard is able to do it via auto-fiction.
For myself, I can only imagine that via fiction—a novel, a story—genres I have never tried. Les Goddesses was an attempt to get close to painful material, and I came up with this device of linking my story to these historical, literary women: Mary Wollstonecraft and Mary Shelley. This was something of an enabler; a way to create parallelism and give the ‘muck’ a foil.
But Borges points out that people “long for confessions”, and viewers have told me the same, that they prefer the grittier, autobiographical material in my narratives. Les Goddesses became somewhat of an idealized portrait of my family. And so in this new video that I’ve just begun to edit, tentatively titled Hemlock Forest, I’m asking what it would mean to revisit Les Goddesses, but to show us (my sisters and myself) as we are now, not via photos taken thirty-five years ago when we were in our heyday. I cite what you wrote in Artforum, about Les Goddesses having a “desperate” quality. I thought you hit the nail on the head.
30 Mar 2022
Hemlock Forest by Μoyra Davey
Temporary Interference – A recorded conversation between fashion designer Hussein Chalayan and professor Judith Clark
This recorded conversation happened on the occasion of Neoclassical.
Α group exhibition at Rodeo, Piraeus with Hussein Chalayan, Tatjana Danneberg, Enrico David, Haris Epaminonda, Hélène Fauquet, Kentaro Kawabata, Issey Miyake, Shinro Ohtake, R. H. Quaytman, Christiana Soulou, Thanasis Totsikas, Yui Yaegashi.
19 November 2022–25 February 2023
Judith Clark is a professor of fashion and museology at the London College of Fashion, University of the Arts London. She is a co-founder of the Centre for Fashion Curation. She has curated numerous major exhibitions in renowned museums around the world, including the V&A in London, Mode Museum in Antwerp, Boijmans van Beuningen in Rotterdam, Palazzo Pitti in Florence, Museo Frida Kahlo in Mexico City, and Cristobal Balenciaga Museoa in Getaria, La Galerie Louis Vuitton at Asnieres. Exhibitions include The Concise Dictionary of Dress (with Adam Phillips), Blythe House, London commissioned by Artangel; (2010), Diana Vreeland after Diana Vreeland, Palazzo Fortuny, Venice (2012), Chloe. Attitudes, Palais de Tokyo, Paris (2012), Chloé: Femininities, Maison Chloe, Paris (2017), The Vulgar: Fashion Redefined, Barbican Art Gallery, London, 2016, Winterpalais, Vienna (2017), ModeMuseum, Hasselt (2017); Lanvin : Dialogues, Fosun Foundation, Shanghai (2019) Memos. On Fashion in This Millennium (with curator Maria Luisa Frisa), Poldi Pezzoli Museum, Milan (2020)