As in Ariane Pauls’ previous works, the project shown in the Process Room explores spatial parameters in relation to principles of ordering and storing. While she usually emphasises the phenomenological reading of architectural spaces, in this installation Pauls focuses on the ongoing discussion regarding museums’ storage facilities.
The installation highlights the provisional state of museums’ stock. By filling the room with crated art works from IMMA’s permanent Collection, the artist extends storage space into exhibition space. This gesture questions how space is dealt with in relation to today’s expanding museum collections, a great part of which often remains unseen. It also addresses general issues regarding the accumulation of material.
On the one hand, the installation unveils the physical bulk of the otherwise invisible storage infrastructure. On the other hand, the work underlines the mobility of goods in today’s society, be it art works or commercial articles. In her work, whether dealing with containers, archive racks or crates, Pauls explores the correlation between the organisation of movement and space. In the process, standardized, functional forms reveal a purely aesthetical dimension, regardless of their content.
Ariane Pauls (b.1980) lives and works in Berlin. She studied Experimental Media Art at the Universität der Künste in Berlin and completed a Master’s Degree in Fine Arts at the Kunsthochschule Kassel. Recent exhibitions include: Christchurch Art Gallery, New Zealand; Kunsthalle in Emden, Germany; SOUTERRAIN, Berlin and Kunstraum Kreuzberg/Bethanien, Berlin.
With thanks to the curatorial, educational and technical staff at IMMA, notably to Jennifer Phelan (ARP Co-ordinator), Christina Kennedy (Senior Curator: Head of Collections), Marguerite O’Molloy (Assistant Curator: Collections), Felicia Tan (Collections Registrar), Ed Kiely (Technical Crew) and Jason Murphy (Technical Crew).