The space in the Palais de Tokyo is a huge square room, 23m x 23m. How much has the exhibition venue itself had an impact on your work? Photo: Alex Paganelli There’s a theatrical aspect to your exhibition. This isn’t just a crazy ‘let’s mess it all up’ approach, more a desire to question hierarchies, particularly around notions of taste. I like to play with the idea of reverence and irreverence towards objects – I’m always trying to think about how we can undermine and look at things in a different way. It seems like you’re also interested in playing with the status of objects? The sense of a subjective position certain techniques will change, display method-ologies will become outmoded and new information will come to light which shifts the focus. When I was working on my MA, my research paper was done at the Natural History Museum, and has always formed a very important backbone to how I understand and look at an exhibition. How does this exhibition relate to your wider interest in museology, and the ways in which we engage with, or look at, objects? My film features one image across 16 monitors – of deep-sea, robotically operated vehicles moving across the sea floor. I was interested in the fact that outer space faces extreme conditions and that most people will only experience it though technology. My show ‘We All Love Your Life’ (2016), at Red Bull Studios, New York, drew on a book about NASA’s Skylab space station written in the 1970s. This exhibition is essentially about forces enacted on the body. Life-size phantom torso dummies made of tissue equivalent plastic, and consisting of simulated organs, are sent into space to measure the effects of radiation on a human body. Photo: Alex Paganelli Where does the title of the exhibition come from? Industrial Debts (study of a sensory-deprivation mask) (2018), George Henry Longly. One of the themes of this exhibition is the projection of a self through technology, explored initially through these armours. I’ve also made work in the past which is concerned with clothing and self-expression. I think I was approached because of my interest in materiality and my interest in juxtaposing different material histories. I’m removing any sense of hierarchy or preconceived notions about how we should experience these objects. But I want people to be able to come as close as possible so they can experience them on the same level. These are obviously very rare and expensive historical artefacts and, for practical reasons, there has to be a distance between them and the viewer. And, crucially, they won’t be behind glass. They are exquisite, powerful objects, so exuberant in their design – they skilfully incorporate metal and lacquer with woven fabric.ĭaimyo armours are displayed sitting down – in my installation, all eight will be scattered throughout the space, sitting on floating pedestals on Perspex boxes. I was slightly in awe of them at first I thought about the ways in which we look and think about these objects now, particularly in a museum context. Photo: © ToriiLinks How did you approach these Japanese armours, and how have you chosen to incorporate them into your display?
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