This group exhibition was an experiment in real-time curating. It chased concepts of time, repitition and suspense. Its purpose was to support the various research and studio practices of recent and current artists participating in IMMA’s Residency Programme, and to serve as a testing ground for developing projects at the Museum. Over the duration of the exhibition, works could be shown which were incomplete and some were removed to make way for new ideas.
I took the opportunity to publish a new pocketbook, Romantic Tragedy. It was published in an edition of 1000 copies by the Museum for 'Unseen Presence'. During the exhibition copies were free to take from four constantly refreshed stacks that sat on top of the printer's upturned delivery box. The box served as a soft plinth and a sculptural expession of the complete, compressed volume of the full edition, plus its journey. Under the stacks, two splayed spreads of the book's endpapers acted as spacers or placeholders for the piles, but also joined together the two-part pattern running across those endpapers, which was derived from an 1864 William Morris tile design called 'Daisy'.
Remaining copies went on sale at the Museum's bookshop for 1.95 Euro until the edition ran out.
