Tag Archives: Installation

Do You Know (Lille)

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25.01.13 – 31.08.13

Office de tourisme de Lille

Otto Berchem is an American artist whose work explores contemporary society’s social codes and human relations. He conceived the sound installation ‘Do You Know’ as a true investigation inviting us to discover the collection of FRAC Nord-Pas de Calais. This work will be shown for the first time in France at the Lille tourist office beginning in January 2013. The series of questions, which all begin with ‘Do you know . . .?’, enumerates the names of artists with a work in the collection. The seemingly random order in fact follows the order in which these works were acquired by the FRAC; the names are spoken in order of the date the artist’s piece entered the collection. This work will also be presented in the inaugural exhibition of the FRAC/AP2 in Dunkirk in September 2013.

Office de Tourisme de Lille – Palais Rihour
42 Place Rihour -BP 205
59000 LILLE

+ 33 (0)3 59 57 94 00

Mon-Sat 9:00-6:00
Sun 10:00-12:00/2:00-5:00


unpacking Out of Storage

See what’s inside the boxes on June 25th.

Art, theft, and curators: an (old) converstaion with Saskia Bos

Crap Shoot. An exhibition curated by five young curatorial students from de Appel, which opened 15 years ago this April.

It was the Dutch art world’s cause célèbre of the year. Perhaps the decade? The ticket booth smashed to pieces. Rudy Fuchs, the then director of the Stedelijk Museum, followed by a hapless private detective. The contents of the office, as well as the exhibition of Paul de Reus, stolen from Bloom Gallery. An exhibition almost universally panned at the time.

The day after the opening, the artists and curators held what was meant to be a panel discussion. In the end it was closer to a public lynching. The crowd jeered and heckled. The panel responded, or at least tried to.

Before the dust had a chance to settle, I was asked to interview Saskia Bos for the Crap Shooter, the newspaper that accompanied the show. It was Bos who indirectly started the whole fuss when she created De Appel’s Curatorial Training Programme two years before.

This was to be her chance to respond to the critics, and she took it.

Download a copy of it here.