A*DESK has been offering since 2002 contents about criticism and contemporary art. A*DESK has become consolidated thanks to all those who have believed in the project, all those who have followed us, debating, participating and collaborating. Many people have collaborated with A*DESK, and continue to do so. Their efforts, knowledge and belief in the project are what make it grow internationally. At A*DESK we have also generated work for over one hundred professionals in culture, from small collaborations with reviews and classes, to more prolonged and intense collaborations.

At A*DESK we believe in the need for free and universal access to culture and knowledge. We want to carry on being independent, remaining open to more ideas and opinions. If you believe in A*DESK, we need your backing to be able to continue. You can now participate in the project by supporting it. You can choose how much you want to contribute to the project.

You can decide how much you want to bring to the project.

Limits of Nostalgia. Cardiff & Bures Miller


17 November 2013

Limits of Nostalgia. Cardiff & Bures Miller

The Museum of Contemporary Art of San Diego is presenting a retrospective show of the work by Janet Cardiff y Georges Bures Miller. Until 21 January 2014 one can see Lost in the Memory Palace in the branch that the museum has in La Jolla.

The selection of pieces gathers together examples of their work from the mid nineties up until the present day, offering a panoramic vision of the intentions that underlie their installations. The exhibition is composed of the well-travelled The Dark Pool (1995) and The Muriel Lake Incident (1999), Opera for a Small Room (2003), the incredible Roadtrip (2004), The Killing Machine (2007) and the mediocre Experiment in F Minor (2013).

As ever, theirs are scenarios scripted to the very last detail, where the script or the structure takes precedence over the rest of the elements and determines to a great extent the public’s experience. Little margin is left for a plurality of experience in their installations, as the wonder of their virtuoso technique seems to be a condition, in their case, that marks out the frontiers of what those who approach their pieces can feel or think.

Nevertheless, Cardiff and Bures Miller continue to confront us with the, always opportune, question about the limits of fiction. Playing with the barriers that separate the inside from the outside in their works they also allude to those that define the separation between representation, scenography and the institution that houses them. What are the physical limits and what are the connoted ones. Which governs the other. The works and the title successfully cry over the micro-stories and do so within the walls of a museum.

Paloma Checa-Gismero is Assistant Professor at San Diego State University and Candidate to Ph.D. in Art History, Criticism and Theory at the University of California San Diego. A historian of universal and Latin American contemporary art, she studies the encounters between local aesthetics and global standards. Recent academic publications include ‘Realism in the Work of Maria Thereza Alves’, Afterall, autumn/winter 2017, and ‘Global Contemporary Art Tourism: Engaging with Cuban Authenticity Through the Bienal de La Habana’, in Tourism Planning & Development, vol. 15, 3, 2017. Since 2014 Paloma is a member of the editorial collective of FIELD journal.

Media Partners:

"A desk is a dangerous place from which to watch the world" (John Le Carré)