CHRISTINA MITRENTSE : MAKE –METALIBRARY /An Interactive exhibition




MAKE –METALIBRARY /An Interactive exhibition

CHRISTINA MITRENTSE

2 – 13 September 2013

WOMEN’S ART LIBRRARY /MAKE

Special Collections /Rutherford Building

Goldsmiths, University of London

New Cross London SE14 6NW UK

Reception: Saturday 7 September 1-4pm

RSVP : a.greenan@gold.ac.uk

Open: Mon – Fri 10am – 5pm Wed 10am-7pm

t: 020 7717 2295  www.goldsmiths.ac.uk/make

The Women’s Art Library at Goldsmiths University of London is pleased to present MAKE–METALIBRARY at the Special Collections ,an exhibition by multidisciplinary artist Christina Mitrentse. METALIBRARY is a site specific interactive floor based installation gathering together the complete MAKE magazine archive (issues 1- 92) made available to the public in the library’s special collection reading room, and emerging from Mitrentse’s ongoing Add To My Library project. Two screenings project background information from Vol.II & III archive of ATML, in dialogue with the ‘Wounded Book Sculptures’ to be displayed in cabinets: a selection of feminist vintage Penguin publications shot with riffle create bullet holes, have been introduced by Mitrentse as a series of appropriated, ready-mades since 2010. A selection of new large wall based colour drawings and an exclusive printed edition, extensively designed to expand the MAKE publication front covers and archive of the future, providing also a connection between the special collections reading room and the main Library, where a ‘Book-Skoob Tower’ rises to the 1st floor. The exhibition features contextual writings by Areti Leopoulou art historian, CACT curator & Dr. Christina Gramma- tikopoulou of InteRartive magazine, Michael Hampton arts writer AN/ Frieze and Vassiliki Tzanakou , writer /curator London.

 

Christina Mitrentse is a multidisciplinary London based artist, freelance curator and educator. She is known for constructing provocative narratives and poetic ensembles of idiosyncratic institutions through manifold processes of vintage book-sculpture, drawing, screen-printing, and productions of site-specific installations. Mitrentse studied MFA at Chelsea College of Art & Design, and PGCE at the University of Greenwich. She has exhibited extensively in galleries, museums and public spaces including Liverpool Biennial UK, XV Biennale de Mediterranean Thess/niki-Rome, ICA London, NDSM-werf Amsterdam, Macedonian Museum of Contemporary Art, London Art Fair ,Brussels Art Fair, Dalla Rossa Gallery London, Royal Academy, The Stephen Lawrence Gallery, Mitte Barcelona, Centre of Book Arts NY, International Print Centre NY. Her work has been profiled and reviewed in major publications including Art Monthly, InteRartive, Athens Voice, Book Art magazine, Macedonia paper, Close Up, Time out London, AN magazine, Hackney Gazzete, In/flux, Frieze. Mitrentse artworks have been acquired by private & public collections including Greenwich Council, Bank Street Arts Centre, Sill Library Bath, Mol’s collection UK, Tate Archive, Penguin Collectors Society, Zabludowicz foundation, Griechische Kultustiftung Berlin, M. Altenman NY, Onassis Foundation, Benaki Museum and E.Venizelos Airport Athens. For further information please visit www.christinamitrentse.net

or http://christinamitrentse.net/art/projects/metalibrary/

 

 

 

The books are dead. Long live the books

By Arête Leopoulou 2012| Art Historian Curator CACT 

(This writing will be featured in the exhibition)

The history of the book could be the history of civilization.But while proclaiming the death of books[1], who would dare claim at the same time the death of culture or civilization?  When the printed book becomes a monument to bygone eras, a piece of the past, how can it be approached as a cultural product? As technology transforms the book from a material object to a digital one, the libraries (books’ holy places) are gradually replaced by the internet, a place of real, yet intangible. And consequently, the Modern Western thinking, which ideally gives little value to the material world and its products, appears to be justified[2]. And after that? This “after” is already visible: new structures come up, as well as new cognitive patterns and new buildings are built regarding the book.

Christina Mitrentse gives her own interpretation to this transition; the most interesting aspect of her ongoing project is the methodology that interprets and then represents the issues mentioned above.Her work as a whole is a brilliant conceptual, almost epistemological approach to those issues, based on the following principles: • organizing the information/books of interest critically, as well as analytically. • using, as her main medium, painting (whose “death” and “resurrection” have been proclaimed several times in the history of art, exactly like it is now happening with the book). • approaching individual pictorial elements from utopias or dystopias of the past and the future, and finally • accumulating and archiving information/books based on the methodology of libraries and museums, Mitrentse is eventually building  an heterotopia of her own.

As a result, she builds a kind of post-museum for books that are symbolically “disabled” or “dead”. This conceptual structure has a strong theoretical and methodological infrastructure: emblems, ancient monuments and plinths, cultural or historical symbols, the internet, as well as the background of other artists (i.e British conceptual artist John Latham). All are connected in the post-museum that Mitrentse has been building for years. In this way, she brings these books back to life and by recommending a new type of logos (Greek), she proposes an alternative contemporary knowledge.Even if the death of books or other cultural products is perpetually announced, even if the access to information has become equal to the absorbed information, what still remains a need is knowledge. And knowledge never dies. We should thank Christina Mitrentse for making this clear to us in her own unique way.

[1] An issue that the science off the History of the Book is researching and dealing with (e.g. Daniel Traister, article «On dead books», link: http://www.hss.ed.ac.uk/chb/chbn2002_5.htm)

[2] Susan M. Pearce, ?museums, Objects and Collections, Leicester University Press, 1992 (p. 36 on the Greek translated edition)

Duration 02 September 2013 - 13 September 2013
Times Mon – Fri 10am - 5pm Wed 10am-7pm
Cost Free
Venue WOMEN’S ART LIBRRARY /MAKE Special Collections
Address Rutherford Building Goldsmiths, University of Lond London SE14 6NW, ,
Contact 020 7717 2295 / a.greenan@gold.ac.uk / http://christinamitrentse.net/art/projects/metalibrary/

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