Liz Diller

Architecture fundamentally challenges the assumptions and conventions of space. She’s gathered a sample of work that demonstrates “productive Nihilism.” High defitinion has become the new othedoxy. They created an exhibition space which was a cloud, like fog. Fog pyramids, about 300 feet wide, sits on 4 delicate columns. The system is reading the real weather. All references are erased, nothing but whiteness and white noise. It’s an anti-spectecle.

They have a water bar, where all the waters of the world are served. It was adopted as a national icon that came to represent Swiss Doubt. It was a temporary structure that was eventually destroyed. It’s a memory of an apparition. It lives on as a chocolate bar. In the 80s and 90s they were mostly known by independent work, comissioned work from museums. The work itself resisted the nature of a retrospective. The retrospective is an invention of a museum that’s supposed to represent a complete body of work, but their work resisted that because it doesn’t resolve itself.

They created a robotic drill that went around and drilled the wall, as the wall represented a museum construct. The drill would pick a random point on a wall. Rather than be a backdrop, the wall competed for attention, eventually destroying the acoustic and visual seperation, and removing all the curator’s text.

They’re redoing Tully Hall to remove al the visual distractions. The walls will glow at certain times in the theatre experience.

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