MADISON, WI A three-part installation by Roberto Behar and Rosario Marquardt opens in the State Street Gallery and lobby of the Madison Museum of Contemporary Art from August 2 to November 16, 2008. Roberto Behar and Rosario Marquardt: The Absent City examines scale, transparency, and language while drawing attention to the function of the museum and its relationship to the community.
The artists will discuss the installation at 6:30 pm on Friday, August 1, in conjunction with First Fridays at MMoCA. The discussion will take place in the MMoCA lobby and State Street Gallery.
Behar and Marquardt, who were originally trained as architects in Argentina and are now based in Miami, have collaborated to create art in museum and public settings for years. Their works have been shown internationally at venues that include the Miami Art Museum, Miami, FL; the Museum of Contemporary Art/Denver, Denver, CO; and the International Centre for Urbanism, Architecture, and Landscape, Brussels, Belgium.
The most prominent component of the artists site-specific installation at MMoCA is a curtain of brightly colored ribbons running the entire height of the museums three-story glass prow. Made from a vinyl material often used in industrial and retail settings, the ribbons alternately cover and expose the prows glass panels. By obscuring the museums transparent membrane and highlighting the grand scale of the prow, the artists raise questions--both cultural and architectural--about the relationship between the city and the museum.
A second component of the installation, also in MMoCAs lobby, is a public living room, complete with bookcase, ottomans, and coffee table, and adorned with a two-dimensional work titled World Poetical Map. The map depicts the seven continents of the world in an inverted fashion, mocking assumptions of political, economic, and cultural order, while emphasizing the importance of linguistic and visual choices in the creation of informational media. Because it situates South America and Africa as the visual center of the world, the map also poses old and new questions about geography and globalism. The reading room is designed for visitors to reflect, relax, and explore within an architectural scale akin to one they experience on a daily basis.
The final component of the installation, in the museums State Street Gallery, employs industrial ribbons to suggest the center of a pre-Renaissance Italian city. Dense groupings of ribbons recreate the citys organic layout, with the central piazza visible from State Street--Madisons own pedestrian thoroughfare. By presenting the gallery as a stage to be viewed from the street, Behar and Marquardt create a spectacle for passersby. In doing so, they effectively dissolve the line between the museum and the city, while also drawing attention to the small scale of the recreated city.
According to MMoCAs curator of exhibitions Jane Simon, who organized the show, the artists use of varying scale is key to the visitors experience. The transition from the very large to the smaller-than-normal exposes the experiential affect of scale. At the same time, the implications of urban planning and geopolitical order posed by the exhibition become a subject for discussion.
Generous support for Roberto Behar and Rosario Marquardt: The Absent City has been provided by Potter Lawson, Inc.; Cosmic Debris; oompa.com; the Terry Family Foundation; the Art League of the Madison Museum of Contemporary Art; and a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.