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The Blackboard shows a loose collection of events organized by the Städelschule Community. The Hochschule für Bildende Künste–Städelschule is not responsible for the content.The Blackboard shows a loose collection of events organized by the Städelschule Community. The Hochschule für Bildende Künste–Städelschule is not responsible for the content. The Blackboard shows a loose collection of events organized by the Städelschule Community. The Hochschule für Bildende Künste–Städelschule is not responsible for the content. 
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Cosima von Bonin: 7000 Palmen, 2025 © Cosima von Bonin, documenta und Museum Fridericianum gGmbH
7000 Palmen
Image: © Alisa Margolis (after Albrecht Dürer "Witch Riding Backwards on a Goat")
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Pictured: Taylor Map of New York, 1879 published by Galt & Hoy
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Sung Tieu Courtesy of the artist and Emalin London  Sung Tieu Photo HansGeorg Gaul
Sung Tieu. Courtesy of the artist and Emalin, London. © Sung Tieu. Photo Hans-Georg Gaul

Sung Tieu – Amour Systémique

Opening April 6, 7pm
07.04.23 - 05.01.25

CAPC
Musée d'art contemporain
7, rue Ferrère, Bordeaux

Curated by Cédric Fauq

This collection narrative with guest artist Sung Tieu unfolds as a study of a motif: the grid, and raises the question of our relationship to it.

If the grid can take the form of calendars, textile patterns, and guides, it is also what allows for the writing of forms, the mapping of territories, and incarceration. The logic of the grid is that of separation and order. It can be experienced as a source of comfort, but also as an oppressive tool. It is this ambivalence that Amour Systémique wishes to question, using several works from the collection of the Capc, as well as the intervention of the artist Sung Tieu.

To do this, the artist revisits an essay by the Australian-American political scientist Victoria Hattam entitled "Imperial Designs: Remembering Vietnam at the US-Mexico Border" (2016). This text focuses on the reuse of helicopter landing gear produced by the US military during the Vietnam War to mark portions of the border between Mexico and the United States. The political scientist is particularly interested in making a comparative analysis between the pattern that constitutes the grid of the helicopter landing gear and those used by minimalist artists such as Sol LeWitt and Agnes Martin.

Thus, the entire political charge of the grid and the ideologies it contains are laid bare. It also raises the question of how to break free from the grid, to go against normativity. At another level, this collection narrative provides the opportunity to look at the museum as a system and ask what forms of affinity we can create with works that belong to us (because they are part of public collections).

With: César Andrade, Leonor Antunes, Pierre Barès, Irma Blank, David Boeno, Jean-Pierre Bruneaud, Daniel Buren, capcMusée d’art contemporain (Philippe Thomas), Nicole Eisenman, Chohreh Feyzdjou, Michel Gérard, Gilbert & George, Claude Gilli, Liam Gillick, Nan Goldin, Dan Graham, Mona Hatoum, Carmen Herrera, Noritoshi Hirakawa, On Kawara, Claude Lagoutte, Clémence de La Tour du Pin, Guillaume Leblon, Sol LeWitt, Benoît Maire, Thierry Mouillé, Max Neuhaus, Olu Ogunnaike, Masahide Otani, Bernard Pagès, Anne-Marie Pécheur, Présence Panchounette, Jean Pierre Raynaud, Ed Ruscha, Takako Saito, Dayanita Singh, Meredyth Sparks, Sung Tieu, Wolfgang Tillmans, Kaari Upson, Fredrik Vaerslev, Mona Varichon, Claude Viallat, Danh Vō, Marthe Wéry.

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60596 Frankfurt am Main
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