What constitutes a problem is not the thing, or the environment where we find the thing, but the conjunction of the two; something unexpected in a usual place (our favourite aunt in our favourite poker parlour) or something usual in an unexpected place (our favourite poker in our favourite aunt).
Jeanette Winterson
Oranges Are Not The Only Fruit, 1985
Museum of Object-Object Subjectivity is as exploration of multivalent, dynamic links between Diaspora and its Reference, simulated by curated object-object, visitor-object, and scale adjacencies.
Inspiration for multiple simultaneous adjacencies was derived from the taxonomy of scale observed at the Saarinen show, where architecture (never actually present) became exhibitable art through multiple media at different scales used to represent the scope of Saarinen’s work.
The idea of Reference / Origin in Diaspora can be appreciated as attempted preservation of core values of identification, (inadvertently) altered by the introduction and co-incidence of new events. Like a curated installation, individual fragments of the diaspora-reference continuum absorb multiple realities, memories, and aspirations into a fusion of subjective narratives. These ideas were explored in a series of abstract studies:
The site on the Bowery is notable for the void within the block, a simulacrum of diaspora as an instance of distributed (dispersed) community.
Capturing the urban fabric of the city from the expanse of the outside, the void represents the city cleaved, dissected, fragmented, the anti-gestalt. Like Diaspora to its Reference, the city at the scale of the block’s void is both a microcosm and a fragment of a larger whole. MOOOS at the urban scale connects to the Chrystie street park, integrates seamlessly into the bustle of the Bowery, and embraces the void as it links it back to the city fabric.
MOOOS plants objects (art) displaced from their original setting (artist) into new (multiple?) adjacencies, fostering rereading of art that takes context – micro and macro – into consideration. Within the museum, the space is organized to continuously manipulate the XXL-XXS convergence.
Galleries emphasize simultaneity of artwork and spaces at multiple scales, promoting the formation of subjective object-object relationships, the complexity of which ensues from curated, or serendipitously discovered, co-incidences, and possibly help remap extant perceptions of objects, contexts, associations.
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Charlie Able
