london

View of “Juliette Blightman,” 2011.

Juliette Blightman

Hotel

View of “Juliette Blightman,” 2011.

For her recent show “at least you haven’t changed,” the Berlin-based British artist Juliette Blightman did not show her own work but manifested her refusal to submit to the regime of hyperproduction in contemporary art. She did this by bringing together various items that she had temporarily borrowed from close friends and fellow artists. These included a medium-size Expressionist-style painting by artist Anne Norman (Untitled, 1991), an antique Persian rug (Farghan, ca. 1870) lent by former art dealer Gregorio Magnani, and a vinyl record of a 2005 sound piece by Cerith Wyn Evans that he had recorded in the house museum of modernist architect Luis Barragán (The Curves of the Needle, 2005), plus a photocopy of Russian critic Sergei Tretyakov’s 1929 essay “The Biography of the Object” as published in 2006 in the journal October, proposed for the show by writer and curator David

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