The first chapter of Goldin+Senneby’s survey exhibition, Standard Length of a Miracle (the Bootleg), unfolded across three ‘stages’ that set up an interplay of finance, conspiracy, and magic. This second chapter concentrates on those three central thematics with a magic show, a patent for a magic-based trade algorithm, and a psychedelic environment created through a promotional poster and a familiar scent; the latter inspired by Camila Marambio and Amaara Raheem’s Meth(odology) Lab from the first chapter.
For the past ten years, Goldin+Senneby has used methods and tools inspired by the financial sector to illuminate and subvert our late-capitalist system. The IMA is pleased to present the second iteration of their mutating retrospective, Standard Length of a Miracle, which premiered at Tensta konsthall, Stockholm in 2016. Responding to the challenge of mounting a retrospective in Australia and at the same time resisting the urge to pack up the physical traces of all past projects and ship them around the world, the artists have presented bootlegs and replicas of their major works.
For the first chapter of the Brisbane show, Goldin+Senneby invited Camila Marambio and Amaara Raheem to act as interlocutors. Their Meth(odology) Lab, operational during the first week of that show, saw the interlocutors onsite creating TIME: an immersive set of procedures that distil and digest through-lines of Goldin+Senneby’s practice. Another artwork, Headless, was activated by long-time spokesperson for Goldin+Senneby, Angus Cameron, in conversation with Aboriginal elder and academic Mary Graham, moderated by Raheem. A new iteration of an ongoing project, The Plot with Ryan Presley (artist), was realised in collaboration with the eponymous artist, creating graphic and conceptual links between Brisbane and Genk, Belgium. The exhibition will culminate with a magic demonstration, Acid Money, performed by magician Malin Nilsson.
Goldin+Senneby is a framework for collaboration set up by artists Simon Goldin and Jakob Senneby, exploring juridical, financial, and spatial constructs through notions of the performative and the virtual. Recent solo exhibitions include Standard Length of a Miracle, Tensta konsthall, Stockholm (2016); M&A, Artspace NZ, Auckland (2013); I dispense, divide, assign, keep, hold, NAK, Aachen (2012); The Decapitation of Money, Kadist, Paris (2010); Headless. From the public record, Index, Stockholm (2009); Goldin+Senneby: Headless, The Power Plant, Toronto (2008). Group exhibitions include Manipulate the World, Moderna museet, Stockholm (2017); Greater Together, ACCA, Melbourne (2017); The Eighth Climate, 11th Gwangju Biennial (2016); Mom, am I barbarian?, 13th Istanbul Biennial (2013); Art Turning Left, Tate Liverpool (2013); The Deep of the Modern, Manifesta 9, Genk (2012).
Goldin+Senneby’s exhibition at the IMA is supported by Iaspis – the Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists.