Berenice Abbott
Leonor Antunes
John Baldessari
Rosa Barba
Robert Barry
Uta Barth
Joseph Beuys
Alighiero Boetti
Carol Bove
Marcel Broodthaers
Matthew Buckingham
Roger Caillois
Hanne Darboven
Thea Djordjadze
Jimmie Durham
Terry Fox
Friedrich Frobel
Aurelien Froment
Jack Goldstein
Laurent Grasso
Joao Maria Gusmao
Pedro Paiva
Florian Hecker
Alfred Jarry
Rashid Johnson
Joan Jonas
On Kawara
Kitty Kraus
Germaine Kruip
John Latham
Sol LeWitt
Filippo Tommaso Marinetti
Daria Martin
John McCracken
Mario Merz
Helen Mirra
Trevor Paglen
Man Ray
Ben Rivers
Pamela Rosenkranz
Robert Smithson
Hiroshi Sugimoto
Superstudio
Georges Vantongerloo
Lawrence Weiner
Iannis Xenakis
Joao Ribas
A group exhibition, with the work of artists spanning from the 19th to the 21st centuries, that explores art as a speculative science, investigating principles more commonly associated with scientific or mathematical thought. The project suggests that art is itself an account of the world, and can expand the potential of investigative and experimental activity.
curated by João Ribas, Curator, MIT List Visual Arts Center.
Featured artists: Berenice Abbott, Leonor Antunes, John Baldessari, Rosa Barba, Robert Barry, Uta Barth,
Joseph Beuys, Alighiero Boetti, Carol Bove, Marcel Broodthaers, Matthew Buckingham, Roger Caillois, Hanne
Darboven, Thea Djordjadze, Jimmie Durham, Terry Fox, Friedrich Fröbel, Aurélien Froment, Jack Goldstein,
Laurent Grasso, João Maria Gusmão & Pedro Paiva, Florian Hecker, Alfred Jarry, Rashid Johnson, Joan
Jonas, On Kawara, Kitty Kraus, Germaine Kruip, John Latham, Sol LeWitt, F.T. Marinetti, Daria Martin, John
McCracken, Mario Merz, Helen Mirra, Trevor Paglen, Man Ray, Ben Rivers, Pamela Rosenkranz, Robert
Smithson, Hiroshi Sugimoto, Superstudio, Georges Vantongerloo, Lawrence Weiner, and Iannis Xenakis.
The MIT List Visual Arts Center presents In the Holocene, a group
exhibition on view from October 19, 2012, to January 6, 2013, that explores art as a speculative science,
investigating principles more commonly associated with scientific or mathematical thought. Through the work
of artists spanning from the 19th to the 21st centuries, the exhibition proposes that art acts as an investigative
and experimental form of inquiry, addressing or amending what is explained through traditional scientific or
mathematical means: entropy, matter, time (cosmic, geological), energy, topology, mimicry, perception,
consciousness, et cetera. Sometimes employing scientific methodologies or the epistemology of science, other
times investigating phenomena not restricted to any scientific discipline, art can be seen as a form of
investigation into the physical and natural world. In this sense, both art and science share an interest in
knowledge and phenomena, yet are subject to different logics, principles of reasoning, and conclusions. In the
Holocene suggests that art is itself an account of the world, and can expand the potential of investigative and experimental activity.
Emblematic of the central premise of the exhibition, Germaine Kruip’s film Aesthetics as a Way of Survival
(2009) documents the phenomenon in which the male bowerbird arranges colored objects as part of its
courtship display, suggesting an aesthetic faculty at work even within evolutionary behavior. Friedrich Fröbel
devised a pedagogical system centered on childhood learning through color and form. Helen Mirra’s sculptures
address geological time and extremophile forms of living matter. Robert Smithson’s interest in crystallography
and entropy are reflected in both his Four-Sided Vortex (1965) and Partially Buried Woodshed (1970). Daria
Martin’s Sensorium Tests (2012) revolves around a recently recognized neurological condition called “mirror—
touch synaesthesia.” For FT Marinetti, abstract mathematical objects could stimulate in his readers the
subjective experience of the sounds, smells, and motions of modern life; Iannis Xenakis’ Diamorphoses (1957)
and Mycenae Alpha (1978) utilize mathematical operations as compositional strategies for creating music.
Alfred Jarry’s “pataphysics,” John Latham’s “Time—Base Theory,” and João Maria Gusmão and Pedro Paiva’s
“Abyssology” are all examples of speculative systems of knowledge constructed by the artists to address gaps
in historical, philosophical, and scientific discourse.
In the Holocene features a number of works that extend out and beyond the gallery space. Mario Merz’s
Fibonacci Sequence (2002), a series of ten neon numbers installed along the edge of the roof of the List
Center will be seen by pedestrian traffic on Ames St. Ben River’s film installation Origin of the Species (2008),
sited in the atrium lobby incorporates a dwelling assembled from discarded and reclaimed building materials
with a film portrait of an elderly man who devises his own technologies for day-to-day subsistence while
pondering the workings of the universe and the scope of human knowledge. The lobby space will also include
a newly commissioned text based work by Lawrence Wiener.
The title of the exhibition is drawn from Max Frisch’s 1980 novella, Man in the Holocene, in which an aging
narrator gathers selections from books and encyclopedias, preserving human knowledge as a deluge
threatens to destroy his village. Of particular interest to the narrator is knowledge about our geological present,
the Holocene, starting with the last Ice Age and which includes the development of human culture. The
Holocene is thus our period of geological time, in which we attempt to understand the physical and natural laws
of the universe and the origins of life, while also coping with the significant extent of our own impact on the
Earth's ecosystems.
In the Holocene includes a series of Thursday night film screenings and related public programs. See
attached program schedule for more details or see http://listart.mit.edu/upcoming_events
In the Holocene is made possible by an Emily Hall Tremaine Exhibition Award. Additional support for this
exhibition has been generously provided by the Council for the Arts at MIT, the Massachusetts Cultural Council,
the Office of the Associate Provost at MIT, with special thanks to Centre Iannis Xenakis, the MIT List Visual
Arts Center Advisory Committee, and the Friends of the List.
Image: Germaine Kruip, Aesthetics as a Way of Survival, 2009, Video still
Press contact:
Mark Linga Public Relations Officer 617.452.3586 mlinga@mit.edu
Opening Reception: October 18, 6-8pm
Reception events:
6:30 pm, Bartos Theater, Superstudio: Life, Supersurface (1972) & Ceremony (1973) DVD (22 minutes total running time)
7:00pm, ACT Cube, Florian Hecker performs Speculative Solution, an 8-channel electroacoustic sound composition.
The MIT List Visual Arts Center is located in the Wiesner Building, 20 Ames Street, at the eastern
edge of the MIT campus. It is in close proximity to Kendall Square, Memorial Drive, and the Longfellow Bridge.
Gallery Hours: Tues-Wed: 12-6PM; Thurs: 12-8PM; Fri-Sun: 12-6PM; closed Mondays and major holidays.
Free and open to the public