Exhibition view of Les Limbes at La Galerie, Noisy-le-Sec, Photo: Pierre Antoine, 2016
How do you keep something current?
How can you keep something alive that became part of you in a specific place, at a specific time, with someone specific?
How can this private feeling become public and meaningful to other people, people you have never met, people you have just met, people you will eventually meet?
Caterina Riva, 2016
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Tahi Moore, Non pas la Forteresse installation, La Salle des Bains, Lyon, 2014
The other day I was walking in the woods on the border between Northern Italy and Switzerland when I stumbled across a trench built at the time of WWI. My mind wandered back to Auckland, New Zealand, at the site of a fortified promontory called North Head, where in 1885 tunnels were dug and gun placements built to counteract the Russian scares, i.e. the threat of an attack coming from the sea. Rather than being based on historical facts, the militarization of the hill was triggered by a news-paper spoof of the sighting of the Russian warship Casko’ whisky in Auckland’s Harbour, which panicked the government. Tahi Moore told me this anecdote, together with many other links, events, and places that, if at the outset seem disparate, develop into generative threads within his artistic narrative.