Pablo Bronstein has always been deeply interested in the history of architecture, something which he has developed through various mediums: his work ranges from drawing and choreography to video and performance. Conceived specifically in two stages for the OGR Binario 1 space and the Music Room of the Complesso dell'Ospedaletto in Venice, the Carousel de Crystal exhibition brings together all these elements, artfully assembled to create a new dialogue with the structures of the old workshops in Corso Castelfidardo in Turin.
The artist has chosen to construct a narrative based on anachronistic and low-fi models, inspired by the world of Victorian fairy tales. This is how the story of the Grey Witch was created, an enigmatic and inscrutable figure who represents the personification of the metal plate hiding behind the glass of each mirror. Invisible to the eye due to its reflective property, it reveals itself as a thin layer of material only when the glass is cut into sections. It is the Grey Witch who brings together the two sites and environments where the exhibition develops as told in the text - somewhere between an essay and a fairy tale - by the curator Catherine Wood, who accompanies the images along the pages. The performance in Venice, with choreography by Rosalie Wahlfrid, took place during the opening of the 58th Venice Biennale in May 2019. The video installation at the Music Hall of the Complesso dell'Ospedaletto in Venice can be visited until 24 November 2019.
The book belongs to the OGR series of books, curated and published by Corraini Edizioni, and it takes up a key theme of the institution itself, that of movement, particularly in the sense of progression and forward projection. Each of the books is, in fact, a "second act" of the exhibition.
Pablo Bronstein - (1977) is an Argentinean artist based in London. His work in recent years has contributed to the development of a new performative language, in an innovative relationship between architectural installation and dance. Bronstein's architectural projects are often inhabited by dancers who perform a style that combines Baroque and postmodern, with hand movements that originate from the study of Sprezzatura or with poses inspired by vogueing. Bronstein's imaginary world was inspired by his familiarity with watercolour and ink drawings, which enabled him to develop refined architectural blueprints in plan and elevation. The long research process that distinguishes his works, has allowed him to create a historical drag, whose aesthetics and sense of lawfulness are extended to live presentations, as in the case of some of his most famous performances Plaza Minuet, 2011 or Historical Dances in an Antique Setting (2016).
Catherine Wood - is Senior Curator, International Art (Performance) at Tate Modern where she has created several projects with Mark Leckey and Joan Jonas, Anne Imhof and Tania Bruguera, among others. Wood initiated the contemporary performance program at Tate in 2002, and led the online project Performance Room from 2012 to 2016. Wood is the author of Yvonne Rainer: the Mind is a Muscle (MIT, 2007) and Performance in Contemporary Art (Tate, 2018).