Museum of Installation

<p>Using the Trojan horse of orthodoxy, in the form of “content and index,” the <em>Museum of Installation</em> opens up to a multivalent layering and circularity. No matter where one enters the book, via the obese presence of an indexical structure, one is continuously guided back to its beginning section. On second glance, it could be said that this “beginning” evidences a certain ambivalence, regarding authenticity, authorship, place and time, while citing all the bridges crossing the Seine, in the city of Paris.</p> <p>The remaining 80% of the book, is devoted to a superstructure of multiple indexes. Such an overbearing structure may give cause for suspicion regarding the content it seeks to reference. If some deem the contents of this index “necessary” for both “subjectivity” and a hermeneutic of its gestures, maybe this Trojan horse can be co-opted, to investigate the possibility of the provisional, oscillating within the covers of a museum reference.</p> <p>In this spirit, the <em>Museum of Installation</em> continues certain conceptual strategies, employed in my previous works, such as <em>Solvitur Ambulando Tokyorama 1</em> (Palais de Tokyo, Paris 2001) and <em>Metronom </em>(Museum of Installation, London 1999).</p>