Parallel presents : the art of Pierre Huyghe PDF
Preview Parallel presents : the art of Pierre Huyghe
Parallel Presents 9469.indb 1 8/23/12 10:29 AM The MIT Press CaMbrIdge, MassaChuseTTs London, engLand 9469.indb 2 8/23/12 10:29 AM Parallel Presents The ArT of Pierre huyghe AmeliA BArikin 9469.indb 3 8/23/12 10:29 AM © 2012 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected] or write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. This book was set in Archer and Interstate by the MIT Press. Printed and bound in Spain. Library of Congress Cataloging-in-Publication Data Barikin, Amelia, 1979– Parallel presents : the art of Pierre Huyghe / Amelia Barikin. pages cm. Includes bibliographical references and index. ISBN 978-0-262-01780-0 (hardcover : alk. paper) 1. Huyghe, Pierre, 1962–—Criticism and interpretation. I. Title. II. Title: Art of Pierre Huyghe. N6853.H88B37 2012 700.92—dc23 2011052778 10 9 8 7 6 5 4 3 2 1 9469.indb 4 8/23/12 10:29 AM For Vickie Douglas august 4, 1951–March 7, 2011 9469.indb 5 8/23/12 10:29 AM 9469.indb 6 8/23/12 10:29 AM ConTenTs acknowledgments ix Introduction: In What Time Do We Live? 1 1 Early Work 9 2 The Open Present 39 3 A Movie Navigated by Stops 71 4 Figures of Speech 99 5 Inside-Out Utopia 141 6 Topological Systems: An Economy of Time 183 notes 225 Works Cited 252 Index 263 9469.indb 7 8/23/12 10:29 AM 9469.indb 8 8/23/12 10:29 AM ACknowledgmenTs This book has greatly benefited from the assistance of numerous institutions and individuals. I am grateful to all the friends, family, and colleagues who contributed their time, feedback, love, knowledge, support, and editorial skills. Special thanks go to Albert Mishriki; Vickie, Robert, and Scott Douglas; Drew Roberts; Helen Metzger; Karla Pringle; Ben Bourke; Jesslyn Moss; James Jamison; Huw Hallam; Tim Webster; Joe Talia; Ryan Johnston; and most especially to Angela Woods and Anthony Gardner, whose remarkable critical insights have significantly shaped my thoughts. This book commenced as a doctoral thesis at the University of Melbourne, Australia, under the supervision of Charles Green, whose work continues to inspire my own. I would like to thank my associate supervisor Anthony White for his com- ments on earlier drafts, as well as my colleagues Nikos Papastergiadis and Scott McQuire at the School of Culture and Communication for their support and wis- dom. George Baker’s and Felicity Scott’s critical feedback on the original incarna- tion of the manuscript also proved immensely valuable in preparing this book for publication, and I thank them both for their comments. Research was conducted at Dia Art Foundation, New York; the Public Art Fund, New York; Portikus gallery, Frankfurt (special thanks to Jochen Volz); Ca- stello di Rivoli Museo d’Arte Contemporanea; the Museum of Contemporary Art, Sydney; the Musée d’Art Moderne de la Ville de Paris; Marian Goodman Gallery, Paris and New York; and the former Galerie Roger Pailhas in Marseille. Fund- ing for research and writing was provided by an Australian Postgraduate Award, 9469.indb 9 8/23/12 10:29 AM
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