September to November 2018

Play it as it lays was an assemblage platform structure, within a time-based installation that featured a sequence of projected animated pattern-motifs. The assemblage is drawn from a collection of artefacts, sculpture and additional contemporaneous materials.

Foregrounding the spatial qualities of projected animation with the temporal conditions of sculpture, enabled this time-based installation to move away from conventional narrative structures and explore a more immersive and intimate environment.

Play it as it lays was conceived as a site of excavation, to enable a convergence of digital and material space, and to facilitate an immersive interaction where light and sculpture synthesise.

This form of speculative curation led practice enables TC to treat this animated structure as a site of critical and disruptive activity.

The sequence of animated pattern-motifs play out as acts of misdirection, by visibly re-orientate of surface conditions of sculpture and artefacts, the assemblage is cast in decentred patterns and dissonant permutations of light, and the seductive colour palette and movement plays on our powers of perception.

The installation featured audio; a spoken text featuring multiple voices. The statues were loaned from the archive at Viborg Kunsthal.

Play it as it lays was presented in the large East Wing gallery of Viborg Kunsthal, in the group exhibition: As Much About Forgetting.

As Much About Forgetting was a group Exhibition and a Symposium, at Viborg Kunsthal, Denmark. Co-curated by TC McCormack, Michelle Atherton & Jette Gejl. 

AS MUCH ABOUT FORGETTING considers how the passage of time gives us both history and memory, and how tensions often exist between these two formulations. Is what we remember what actually happened and is history factual or an interpretation, subject to revision and change? Is it possible to reclaim, re-enact or recall our pasts as imperfect and to sanction a space for forgetting as a means to create a future tense – indeed to free ourselves from weights. 

Collectively the artists in this exhibition offer a set of connections that tend to omit or exclude more than is included, their aim is not a totality of view. Rather the artworks act as provocations to shift temporal configurations through a recognition of potentially missed or overlooked incidents. 

The works draw upon the intangible, unstable, the unofficial and the virtual, while some embrace the archive and the artefact. The participating artists use installations, sculptures, videos, large-scale backlit vinyl and performances to re-call, reclaim and re-enact our past as imperfect. Some works draw upon the intangible, unstable and unofficial while others embrace archives and artefacts.