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Installing Kulapat Yantrasast/WHY Architecture’s Window Screens, 2008, Bucksbaum Gallery, Art Institute of Chicago, 2012.

Liz Deschenes

Installing Kulapat Yantrasast/WHY Architecture’s Window Screens, 2008, Bucksbaum Gallery, Art Institute of Chicago, 2012.

THIS PAST SPRING, I participated in “Parcours,” a project at the Art Institute of Chicago, with Austrian artist Florian Pumhösl and curator Matthew Witkovsky. On view through September 9, it is somewhere between a curated exhibition and a collaborative artwork. Together we created an exhibition design for a gallery in the museum’s new wing and selected photographs from the permanent collection. There was no theme, so we were able to create conversations among works that would not usually occur— for example, an Ansel Adams book installed diagonally across from a Florence Henri self-portrait. Independently, each of us has worked closely with photography—or maybe, more precisely, with the elements of the medium—and so it was interesting to observe how we collectively conceived (whether consciously or not) of the exhibition space as a kind of light-sensitive apparatus

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