Qualities of Impossible Means

Entrusted with the task of a translation - to paper - of an as-yet-not-exhibited solo exhibition of new works by Tegan Moore: entitled Air Conditioning, to take place this August, in Vancouver, on Main Street, at CSA Space; I must admit at least an uncertainty: how to consider these objects?
(By this, not only: “how to consider these objects?” but also: “how to consider these objects?” and finally: “how to consider these objects?”)
It is not yet that-part-of-August.
It is hot, and still imaginary.

Part one of a guide to Tegan Moore’s solo exhibition Air Conditioning, at CSASpace, Vancouver, CA: 2010
Photograph: Tegan Moore

How to consider these objects.
(Or: consider these objects.)

Blue, pink, green, yellow, white, grey, green;
faded, spotted, unlined, lined;
bright and dark and pale.
Wadding, wrapping, mesh, net, foam.
Solid, not-solid, soft;
cold, warm, too-hot, room temperature;
low density, high density;
affected.
New, new-ish, used;
in use;
crushed, intact, cut, folded and bent.
Rising.
Glued, stuck, held, cradled, cupped, hung, stacked;
slouching, bending, covering, yielding;
yearning;
smaller, larger, wider, wider, shorter, tall, taller, tallest.
Pretending, posing, being;
blocking, hiding, streaming, letting, obstructing, withholding.
Changing.
Damp, dried, sticky.
In between.
Higher, lower, lower.
Round, not-round, rounded;
around.
Continuous, contiguous, discrete.
Visible, invisible, illusory, questionable;
see-through.
All of the above, some of the above, none of the above.
Other.

Part two of a guide to Tegan Moore’s solo exhibition Air Conditioning, at CSASpace, Vancouver, CA: 2010

How to consider these objects.
(Or: consider these objects.)

In situ:
as sculpture.
As instances, as actions, as illusions.
As: doubles, triples, single multiples; as multiply single.
Singly, together, three or two at a time.
As gesture.
Physically, physiologically, phenomenologically;
historically, intellectually.
(Humorously.)
Archaelogically;
meteorologically;
possibly logically.
With gravity;
and think of other objects.

How to consider these objects.
(Or: consider these objects.)

Tonight:
with refreshment.
Monday afternoon:
refreshed.
Eternally,
or:
later.

Parts three and four of a guide to Tegan Moore’s solo exhibition Air Conditioning, at CSASpace, Vancouver, CA: 2010

Documentation of my solo exhibition Where do smiles come from, curated by Nicholas Matranga at Wild West Active Space, Maastricht, NL: 2009

Untitled (horse)

Nicholas: With interviews I’m always thinking about what you describe as the role of the narrator. There is always a question of where one gets their questions. I would rather we not role play. You sometimes role play. I am thinking of your recent photographs of you hanging on various objects; such as the one of you laying across a horse?

Francesca: The role of the narrator is almost the role of the storyteller, which I have heard described as a person who goes somewhere, and comes back, and has something to tell. It is hard to tell whether the questions are more in coming or going. These recent photographs are studies, for coming and going, for being somewhere and somewhere else; essentially for things being other things, through physical and conceptual connections. That said, I don’t know if it is role play; I am very serious, and I am usually always myself.

Excerpt from an interview with Nicholas Matranga on the occasion of my solo exhibition Where do smiles come from, to accompany Untitled (horse), in Woo magazine, Vancouver, CA: 2009