The Move: Adel Abidin, Rosa Barba, Runa Islam
The Move

Curator: Başak Şenova

Adel Abidin
Rosa Barba
Runa Islam

5 October-18 November 2012
Rosa Barba
"I Made a Circuit and Then a Second Circuit" (2010)
Sculpture, cutout text on felt
180 x 240 cm
Exhibition view: Kunstverein Braunschweig, Braunschweig, Germany
Courtesy of the artist, carlier | gebauer, Berlin and Gió Marconi, Milan
Photo: VG Bild-Kunst, Rosa Barba
Adel Abidin
"Symphony" (2012)
Sculpture-based installation
Installation view: "The Move", Arter, 2012
Photo: Gülay Yiğitcan, Alikemal Karasu
Runa Islam
"Be The First To See What You See As You See It" (2004)
16mm film with sound
Installation view
Courtesy of the artist and Jay Jopling/White Cube (London)
Photo: Gerry Johansson
© Runa Islam
"The Move" involved three solo exhibitions: "beyond..." by Adel Abidin, "annotations" by Rosa Barba, and "dogs devouring horses" by Runa Islam. Each exhibition had its own distinct features and had to be considered in their own context. Nevertheless, the curatorial methodology for this exhibition had been based on a calculated structure that extended its territories by referring to the game of chess.

Starting from the basic notions of visual and aural perception, strategies of spatial and perceptual transformation, and constructions of conceptual territories, the project has found its way by exploring and building on the work of three different artists, that constitute diverse areas of artistic research. Therefore, the works of Adel Abidin, Rosa Barba, and Runa Islam had framed the borders of "The Move" as an exhibition.

The curatorial development of the project had two axes: conceptual and spatial. The conceptual axis focused on drawing the works together, which were closely linked in terms of their subject matter and perceptual inquiries. This axis was based on a collaborative act with each artist involving different layers and intensities. The conceptual axis mapped the positional plays between time and sound; light and sight; movement and strategy; and perception and points of view. Whereas, the spatial axis had traced the way in which each artist makes moves and considered spatial conditions through the content and presence of these works.

The opening of the spatial axis was on the ground floor, which drew together specific works by each artist in the exhibition: a sculpture "I Made a Circuit, then a Second Circuit" (2010) by Rosa Barba, a sculpture-based installation "Symphony" (2012) by Adel Abidin, and a 16mm film "Be The First To See What You See As You See It" (2004) by Runa Islam.

The line of this spatial axis had a sequence of moves that continued into Arter's upper floors. The first floor presented the video screening part of Adel Abidin's "Symphony" (2012), "Hopscotch" (2009), and "Three Love Songs" (2010), framed in the "beyond..." exhibition. In "beyond…", the exhibition space was modified with architectural elements based on the requirements of the works, whereas on the other floors the architectural adjustments are minimal, allowing the viewer to identify the spatial characteristics of the building. Accordingly, the location of the works broke the symmetry of the perception of the identical exhibition spaces. The second floor presented four works by Rosa Barba under the title "annotations": "Coupez Ici" (2012), "The Hidden Conference: On the Discontinuous History of Things We See and Don't See" (2010), "Recorded Expansions of Infinite Things" (2012) and "Invisible Act" (2010). Finally, Runa Islam's exhibition "dogs devouring horses" on the third floor was named after her work "Emergence" (2011) which the exhibition featured, along with "This Much is Uncertain" (2009-2010) and "Cabinet of Prototypes" (2009–2010).