A project with works and interventions by artists represented in the David and Indrė Roberts Collection: Katinka Bock, Ulla van Brandenburg, Miriam Cahn, George Condo, Hans-Peter Feldmann, Cyprien Gaillard, Chosil Kil, Lars Laumann, Maria Loboda, George Henry Longly, Benoît Maire, Marc Manders, Patrizio di Massimo, Roman Ondak, Eduardo Paolozzi, Falke Pisano. With additional works from Stefano Calligaro, Sidsel Christensen & Ben Judd, Five Storey Project, Justin Gainan, Clare Gasson, Graham Gussin & Jeremy Millar, Pierre Huyghe, Seb Patane, Reto Pulfer, Alexandre Singh, Jack Strange, Adam Thompson, Joshua Thorpe, Charlotte Warne Thomas, Westminster University, Ian Wilson
Running parallel to the exhibition Sculpture of The Space Age, The Object of the Attack is a series of footnotes and infiltrations. Deliberately reacting against a linear approach to interpretation, The Object of the Attack will work as an echo chamber to the main exhibition and raise multiple questions about art production and curatorial engagement, translations and communication, avoiding any fixed answers. Artists have been invited to contribute to a collective and evolving conversation. The space will be constantly re-installed over the Autumn, hosting every week a new intervention, performance, artwork, sound piece, discussion, etc. The interventions will have different durations: some will last five minutes, other will stay for three months.
The set of the gallery will reflect this process, providing a space where the audience will be encouraged to have a more active and creative role. Artists Reto Pulfer and Patrizio di Massimo will create, one after the other, a different interpretation of what this space can be. For the final week, the space will consist of an installation by Roman Ondak. DRAF has also collaborated with Westminster University and the curatorial group, 5 Storey Projects, who will present discussions, screenings and interventions during November and December.
The Object of the Attack will aim at reconsidering the way institutions propose educational or interpretative strategies. Not an exhibition, not an interpretation space, the project is a fluid experiment that escapes any definition.
