Plinque — Pli selon Pli — 22,48 m² Gallery — Exhibition — Slash Paris

Past: March 8 → April 27, 2013

Since 2008, a team of five artists and art theorists — Markus Hanakam, Claudia Larcher, Liddy Scheffknecht, Roswitha Schuller and Armin B. Wagner — based in Vienna, Austria, have been creating exhibitions under the name of PLINQUE.

PLINQUE sways between artist collective and artist-run space, without using a permanent exhibition space. The team develops new exhibition displays and collectively conceives on-site installations. Since it formed in 2008, the group has produced various exhibitions in different places and cities such as Paris, Murau, Vienna, and recently Tokyo. Each project is organized in a different place and is produced on-site by the artists. Always developed in accordance with the given space and in tune with the artworks exhibited, PLINQUE’s propositions reflect a decisive thought process and a specific and innovative arrangement of the exhibition itself.

For its first exhibition at 22,48 m², PLINQUE creates a space within the exhibition space. Inside the gallery’s distinctive large showcase window, the five artists construct a scenic framework featuring moving images: videos, films and animations created by the individual artists. The display which in turn was conceived collectively consists of a set of various black boxes that allow for focussed perspectives onto numerous screenings. While the interior of the gallery folds back in front of the passersby, the actual exhibition space unfolds itself outwards. The title of the exhibition, Pli selon Pli (Fold by fold), refers to Gilles Deleuze’s definition of Baroque philosophy and reflects this rearrangement of space as much as its deconstruction. Everything is constantly folding, unfolding, and folding back. The entrance of the gallery takes the viewer “backstage” where he will find, at first glance, a closed constructed space. A closer look reveals the actual setting, the construction of the scene and the characteristics of the different screening devices. The artworks, however, remain visible only from outside. In a different way this transformation of the gallery space again evokes the Baroque period and its typical cabinet as it shows, like the device of PLINQUE, an ensemble of various individual scenes whilst hiding its true inner life.