Artist Taryn Simon on “Paperwork and the Will of Capital” at Gagosian | VogueThese flowers sat between powerful men as they signed agreements designed to influence the fate of the world. The bouquets in her new series are based on floral displays present at the formal signings of dozens of agreements between nations and other dominions. Using archival sources, Simon worked with a botanist to identify the various species in each bouquet. The flowers themselves were then dried, flattened, sewn into herbarium paper, and placed in columnar concrete presses that Simon designed. Relax now, you're at home.
Taryn Simon. Paperwork and the Will of Capital - Gagosian Gallery, Roma 2016
Paperwork and the Will of Capital by Taryn Simon
To purchase this item directly from our New York Shop, please send us an email or call us at the number below. Texts by Daniel E. The economist and investigative journalist Nicholas Kulish discusses the shakeable world order since , as seen by Simon in her body of work, and the botanist Daniel Atha looks at adaptation and survival in the plant world as a mirror for human political action. A short story by the fiction writer Hanan Al-Shayk winds in and around the work, extending and contextualizing its meaning. Her methodology, often scarcely visible in the final product, is a valuable resources that should be explored in itself. This vibrantly illustrated publication is an essential accompaniment to the work.
His Hortus gramineus Woburnensis catalogues the results of soil and planting experiments conducted to enhance the performance and nutritive value of various types of grass cultivated for animal fodder. Plant communities composed of diverse species, Sinclair found, produce a greater yield than less species-rich plots. The sculptures can also be exhibited in a closed format on a half-scale press with the top weight surmounting its singly stacked pages. Her project originated in her observation that in photographs documenting the ratification of official treaties an arrangement of cut flowers typically adorns the setting in which signatories convene. Such bouquets, Simon proposes, parallel the arrangements and rearrangements of power they ceremonially mark. Culling newsreels and image databases, Simon began by selecting thirty-six press photographs of ceremonial signings dating from to , spanning dozens of nations and sectors of trade and diplomacy—from intellectual property to labor relations, nuclear armament, and land repatriation. She worked with a botanist to identify the species brought together in each bouquet, of which she then created and photographed twelve different versions.
In signings of political accords, contracts, treaties, and decrees, powerful men flank floral centerpieces curated to convey the importance of the signatories and the institutions they represent. Photographs of the recreated centerpieces from these signings, together with their stories, underscore how the stagecraft of political and economic power is created, performed, marketed, and maintained. For the recreations, the flowers present at each signing were identified from archival sources by a botanist. An impossible bouquet is a man-made fantasy of flowers that could never bloom naturally in the same season and geographic location—now made possible by the global consumer market. Thirty-six floral centerpieces were photographed against background and foreground colors, keyed by the original decor of the historic ceremonies.
What's New? New Bestsellers Trade Academic D. Catalog D.
mankiw taylor economics 2nd edition pdf