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Altermodern Art in America
Altermodern Art in America
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INTERVIEWS MAR. 17, 2009
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Altermodern: A Conversation
with Nicolas Bourriaud
by Bartholomew Ryan
BR: Were the artists in the triennial finalized after you had developed
the concept, or were they chosen in part because they helped resolve
some of your thinking around the concept?
BR: What prompted the decision to have non Britain-based artists for
the first time in a Tate Triennial?
NB: Thank you for asking this. I tend to think that the spatial
organization of an exhibition has to be directed towards a specific
effect, and has to be articulated in order to make a certain pattern
appear. Here, it was a certain feeling: scattered or fragmented forms,
archipelago-like, and the impression of a journey. One critic from a
London newspaper wrote that he had the same feeling visiting the
show as when browsing on his computer: he summed up what I tried
to provide to the visitor. More concretely, I tried to organize the
exhibition as a maze, with many pathways leading to smaller rooms,
and a general plan in the form of a snail, that comes from and leads to
the spacious Duveens’ Hall of the Tate Britain.
From the top: Bob and Roberta Smith, Off Voice Fly Tip 2009,
Courtesy the artist and Hales Gallery. Photo: Tate Photography;
Charles Avery, Aleph Null Head and Installation of drawings 2008,
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