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“I hallucinate what I need,” Roland Barthes wrote in A Lover’s Discourse: Fragments, his 1977 e-book of literary ruminations on the circumstances of intimacy. That notion of craving as a artistic impulse is on the centre of A Lover’s Discourse, a sequence of exhibitions on the Aspen Artwork Museum (AAM) that includes six separate month-long shows juxtaposing items by early-career artists with historic works from non-public collections in Aspen, a group famend for its excessive focus of big-ticket artwork patrons. The sequence was conceived by the AAM curator-at-large Stella Bottai, a London-based curator, author and tutorial who additionally leads the up to date artwork programme of the Archaeological Park of Pompeii.
“I actually appreciated that the artists responded to the invites with pleasure, as a result of it’s a bit like a blind date,” Bottai says. “We’re a non-collecting museum, there’s not a database we are able to pull from, so the team-effort facet is essential. In dialogue with my colleagues in Aspen, we perceive which assortment might have the form of work that the artists are keen on.”
Artist Zeinab Saleh, whose work is featured within the first iteration of A Lover’s Discourse Courtesy the artist
The sequence, which launched in late June and continues till January 2024, opened with a pairing of monochromatic, aquatic work by the Kenyan, London-based artist Zeinab Saleh juxtaposed with Regen (1987), the German artist Katharina Fritsch’s vinyl recording of rainfall (till 22 July).
“Zeinab was actually keen on attempting to offer a studying of her work that strikes away from simply the two-dimensional floor to a way of environment,” Bottai says. “I used to be thrilled that Katharina was actually keen on understanding how this youthful artist had arrived at that work. So though that is one thing which may not be formally obvious to the general public, there’s this different layer of dialogue taking place within the background.”
Chase Corridor, whose works shall be featured within the second installment of A Lover’s Discourse Photograph by Lauren Rodriguez Corridor, courtesy the artist
The second instalment within the sequence (27 July-27 August) will characteristic latest works by Chase Corridor, the American painter identified for his compositions made with a mixture of acrylic paints and low. “Chase was very keen on connecting with post-war abstraction,” Bottai says. “We discovered an incredible work on paper by Jackson Pollock from the gathering of Larry and Susan Marx. For Chase that was additionally a solution to begin occupied with Pollock’s drip by way of the politics of labour.”
By putting sudden artwork genres, eras and media in dialog with each other, Bottai hopes A Lover’s Discourse will develop Barthes’s legacy into a visible realm, exploring tensions between the manifest and clandestine, need and wish.
“This notion of a collector’s community connects with the concept of A Lover’s Discourse, as a result of, once more, there’s this sense of need and possession which are a part of the collector’s pursuit,” she says. “When artists reply to current collections in museums, they’ve data on what’s already there. In our case, we’re instructed what the artist want to discover, after which we make that occur.”
A Lover’s Discourse, Aspen Artwork Museum, Aspen, Colorado, till 14 January 2024
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