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6th level installation view from scrim entry passage. Yervant Gianikian and Angela Ricci Lucchi, Frammenti Elettrici, 2001-04. Visitors enter each gallery through a passage bound on one side by a translucent scrim wall, screen printed with artist/artwork titles backlit by the projected images within.
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6th level overview. Galleries are organized around primary and secondary padded foam sound-sink walls that acoustically buffer the works.
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Secondary sound-sink passage view. Galleries are organized around primary and secondary padded foam sound-sink walls that acoustically buffer the works.
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Slits, cut in the foam, conceal fluorescent lights which leak light onto adjacent circulation paths.
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Detail of pathway lighting. Slits, cut in the foam, conceal fluorescent lights which leak light onto adjacent circulation paths.
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Plan & elevation of scrim entry passage. Visitors enter each gallery along translucent scrim walls which are screen printed with artist/artwork credits backlit by the projected images within.
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6th level plan. Viewing spaces are organized around primary and secondary padded foam sound-sink walls that acoustically buffer the works. Visitors enter each gallery along translucent scrim walls which are screen printed with artist/artwork credits backlit by the projected images within.
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Primary sound-sink corridor and scrim light. Secondary sound-sink passage view. Galleries are organized around primary and secondary padded foam sound-sink walls that acoustically buffer the works.
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5th level overview.
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5th level installation view. Francesco Vezzoli, The End of the Human Voice, 2001.
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6th level installation view. Isaac Julien, Fanon S.A., 1997.

EXPERIMENTS WITH TRUTH

The Fabric Workshop and Museum, The Fabric Workshop and Museum, Philadelphia, PA

Invitation 2004
Project 2004
Exhibition 2004-05

Invited by architects Diller+Scofidio to lead design work for Experiments with Truth, Lyn Rice collaborated with curator Mark Nash and The Fabric Workshop and Museum to develop exhibition concepts and design for this international survey exploring how modes of representation & viewership have shifted. Creating spaces that constitute a cross between gallery and theater, Rice organized viewing areas around primary and secondary padded foam sound-sink walls to acoustically buffer the works. Slits, cut in the foam, conceal fluorescent lights which leak light onto adjacent circulation paths. Visitors enter each gallery through a passage bound on one side by a translucent scrim wall, screen-printed with artist/artwork titles backlit by the projected images within.

Critic T.J. Demos writes in Art Forum that the "neutralization of the gallery creates ideal conditions for an uninterrupted focus on the singularity of the work, uniformly emphasizing the luminous field of the image over the physical area of display." Critic Roberta Fallon writes of EWT that "(the) architectural transformation...is perhaps the high point of the exhibition. The new design creates a network of viewing chambers branching off dark hallways that...dampen the sound and the dark ambiance creates an elegiac pathway through the somber show about colonialism, war and its aftermath."

EWT takes its name from Mahatma Gandhi's An Autobiography: The Story of My Experiments With Truth and Nash builds on Documenta11 which "explored notions of documentary and artists' moving-image practices, initiating a discussion about a 'documentary turn' in contemporary art." Artists include Bhimji, Gianikian and Ricci Lucchi, Igloolik Isuma Productions, Julien, Kanwar, Langlands & Bell, Ligon, Multiplicity, Ottinger, Portabella, Roberts, Suarez, and Vezzoli.


Lyn Rice/OpenOffice
Principal: Lyn Rice
Design Team: Astrid Lipka, Jonathan Garnett, Anne Schiffman
Curator:
Mark Nash
Media Arts Specialist
Paul Kuranko, Guggenheim
Graphic Design
Conny Purtil