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Carrie Pilto

@cpilto

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coordinator:
Okay. Resume.
☝🏻
The Wearable Works
are recurring players within the Field,
appearing in performances, gatherings, publications, lectures and photographs.
Like during the launch of ‘I and the Others’ (@de_balie 2025), more than 120 participants wore one.

☝🏻
Their function remains consistent:
👉🏻connecting bodies,
👉🏻playing out temporary positions,
👉🏻staging co-responsibility,
👉🏻making relationships visible.
Result: consumer 👀 becomes co-player 🏐

☝🏻
Not a fashion collection,
but a long-term artistic investigation
into how connection takes form.

Developed with tailor Marinka van der Voort.

#wearableworks #performance #art #fashion #design

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I received the exciting news that my installation titled “Stations of Hope” and part of “The Children” are to be acquired by Museum Catharijneconvent in Utrecht, The Netherlands for its permanent collection. These two bodies of work are part of my CONFESS exhibition, which addresses the sexual abuse of children by Catholic priests.

“Stations of Hope” is a work composed of 14 shadowbox assemblages loosely based on the Stations of the Cross, which I saw growing up in my childhood Catholic Church in Belfast. The gruesome images of Christ carrying the cross on his way to be crucified filled me with terror. I wanted to make my own version that would fill me with hope and light.

“The Children” is an archive of Holy Communion dresses and altar boy vestments, each embroidered with a keyhole and serpent symbol I designed, applied and individually gold-leafed, representing the children who were abused by priests.

Museum Catharijneconvent is a former medieval monastery with one of the most beautiful collections of medieval art and Christian heritage in The Netherlands. Katja Weitering (Head of Curatorial Department) and Rozanne de Bruijne ( Curator of Modern and Contemporary Art) presented a proposal to acquire my work from the Mondriaan Fund, the Dutch National Council for Art and Heritage. A grant was approved and the works will be exhibited in the new permanent collection display ( planned to open in 2028).

CONFESS was presented to Katja and Rozanne by Carrie Pilto. I met Carrie in 2011 when I had just begun the work to build the glass confessional titled “Bless Me Child For I Have Sinned”. Carrie was a curator at the San Francisco Museum of Modern Art at the time. I showed her my work. She was instantly engaged and since then has been championing my work CONFESS.

Photo 1: “Stations of Hope” The Lisa Sette Gallery in Phoenix , Arizona. USA.

Materials: Linen, thread, nails, velvet, metallic ecclesiastical ribbon, embroidery, electric lights and wood. 18.5” x15.5” x 3”

Photo 2: “The Children” Confess exhibit at Château La Coste, France.
Materials: various fabrics, embroidered serpent.

@museumcatharijneconvent @chateaulacoste
#healing

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mediator
Could you shut the door? We’re all seated.

host
Okay: we’ve arrived at the seventh of eight motifs.
Orange.
The Field.
Of course its shape is a rectangle.
In brief:
The Field is the space
that connects people.
The playing field.
All my work starts with
me entering some location or other.
A gallery, studio, museum, clubhouse, website,
a book.
A space within which I stage my encounters.
An explicit Extra-Ordinary Place.
The moment I enter the Field
I’m with Others
with whom I have something in common.

coordinator
Got it. Finally one with a concise description. The orange rectangle: the place where We gather. Nice and concrete.

host
The Field creates an inside. But consequently also an outside. ‘In essence, space is that which is preserved: the things that are safeguarded within its free sphere.’ [66] With the threshold as an unavoidable boundary between the two domains.

Page 152

Thursday morning, May 7, I scripted a gathering at Bruno Books in Venice, as part of Morning Rituals during the Biennale pre-opening.
Starting from chapter seven of I and the Others, the book becomes a shared script: a temporary field formed through reading, a set of wearable connections, and collective presence. Centered around the question: What qualities must a field have to practice care?

#venice @labiennale #reading #artistbook

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Pre-Venice drinks 🥂🍕🇮🇹 Catching up, exchanging ideas, and getting ready for the Biennale days ahead.

Great to host this evening together with @rubiahbalsem in our new MAF studio.

Inspiration starts here. Long before the exhibitions.

Next stop: Venice. 🇮🇹

@m_a_f_studio @labiennale @tuinvanbret
#venicebiennale #creativecommunity #studiolife #spatialdesign #amsterdamcreatives

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Pierre Leguillon
(Musée des Erreurs) Objet prêté à l’exposition ENTREZ DANS LA COULEUR
« Bleu de travail » jeune, Belgique, vers 2010.
Nous ne savons pas qui a inventé le bleu de travail,
mais les Français en revendiquent la paternité. La
blouse bleue s’est imposée à la suite de la
découverte du pigment bleu de Prusse au XVIIIe
siècle, qui a démocratisé la couleur bleue, et de la
révolution industrielle au XIXe siècle. Non seulement elle protégeait les vêtements des travailleurs des salissures et pouvait contenir leurs outils dans ses nombreuses poches, mais elle les identifiait aussi clairement comme des « cols bleus ». Après mai 1968, en solidarité avec les mouvements ouvriers, les étudiants se sont approprié ce vêtement comme tenue
de ville. Mais d’où viendrait le « jaune de travail » ? Cette
blouse a été acquise dans un magasin de vêtements de
travail bruxellois en 2012. La légende veut qu’elle ait été commandée en quantité limitée par la SNCB, la
Société nationale des Chemins de fer belges, pour rendre les travailleurs plus visibles lors
d’interventions sur les voies. Hélas, la saleté est soudainement devenue plus visible, elle aussi, et l’idée fut abandonnée. Mais depuis la naissance du mouvement des Gilets jaunes en France à l’automne 2018, le jaune est aussi associé à la révolte sociale. (Texte: Carrie Pilto 💛) #bleudetravail #museedeserreurs

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DO YOU KNOW SNOW?

Galerie Michel Journiac, École des Arts de La Sorbonne, Paris 15
Exhibition from October 16 to November 8, 2024.
Open from Wednesday to Friday from 2 p.m. to 6 p.m., and by appointment.
Exceptional opening on Saturday, November 9, 2024 from
1 p.m. to 4 p.m. on the occasion of Paris Photo

A tribute to Canadian artist and filmmaker Michael Snow
(1928-2023), the exhibition offers a unique look at
the work of a major 20th-century artist who has always
played with the retrospective format, not hesitating to produce new works based on his previous production.
Conceived from a radio program and a slideshow produced in 1978, Do You Know Snow? invites the public to explore the tiny border between the work and the document within an immersive and multimedia device in which writing, image and sound lead us to reconsider our relationship to the work, but also to screens. Reconfigured for the Michel Journiac gallery after its first presentation at @centredartcontemporaingeneve, this exhibition is augmented by a second level of reading which, adopting a principle of partition, will offer space-times from where the artist’s works will be presented and discussed.

Thank to the unique Jacqueline Caux for her generous presence and stories at the opening. And to the all team @galeriemicheljourniac

Subscribe @galeriemicheljourniac to follow the fantastic public program.

Photos 5, 6, 8 and 10 by @rochdeniau

Do You Know Snow? is an exhibition conceived by
Jonathan Pouthier and Pierre Leguillon, with the support of
HEAD Genève, the Institut Acte and the CVEC. Graphic design by Roch Deniau @rochdeniau

#michaelsnow #danielcaux #jacquelinecaux #chantalakerman #jonasmekas
#albertayler #archieshepp #roswellrudd #johntchicai
#paulbley #carlablay #milfordgraves #pascaldoury
#experimentalfilm #freejazz #centrepompidou
#pierreleguillon #jonathanpouthier

@natgallerycan
@artcaninstitute
@jackshainman
@michaelgibsongallery
@angelsbarcelona

This project is part of the research project « Zone grise de
l’original » @headgeneve @hessogeneve @anthonymasure
@jonathan_pouthier
@mathias.c.pfund

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One of those beautiful evenings 💫
Happy Birthday Turtle Friend @stylismms Don’t stop creating and believing in magic, it’s happening, it is a roller coaster, try to enjoy the ride! ❤️

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@focusvif a interviewé @cpilto à propos de l’essai Une œuvre d’art face au tribunal, et c’est captivant de vérité ! 🔥
Cet essai réunit de grands intellectuels – #JennyDoussan, Michael La Chance, Carrie Pilto, @sarahwilson_courtauld – qui expliquent et défendent la démarche artistique de @pyotr.pavlensky. Leurs textes s’attachent à comprendre les rouages de la censure et de la répression juridico-policière que subissent certains artistes dont on voudrait faire taire les œuvres.
Amateurs d’art, esthètes engagés ou simples curieux profanes : foncez découvrir l’essai et l’article !
@michel.verlinden_
#piotrpavlenski #focusvif #uneoeuvredartfaceautribunal #pornopolitique #affairegriveaux #carriepilto

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POPE.L (1955-2023) | Als eerbetoon aan Pope.L die op 23 december 2023 plotseling thuis in Chicago overleed, plaatsen we een van zijn twee werken die tot voor kort te zien waren in Someone is getting rich in Wereldmuseum Amsterdam.

Pope.L (@williampopel1), geboren in 1955, was een Amerikaanse beeldend kunstenaar, schrijver, theatermaker en opvoeder met een lange geschiedenis in het maken van moeilijke, provocerende projecten op straat, in de galerie en andere openbare ruimtes. Hij was geïnteresseerd in sociale en economische systemen en hun raakvlakken met gemeenschap, gender en sociale ongelijkheid.

“What a poetic and courageous artist, an empathy maker. It’s enormously important work that has just begun to be fully recognised in Europe, and so needed. I am grateful we were able to collaborate before his passing. “ - Gastcurator Carrie Pilto (@cpilto)

📸: Pope.L. Eating the Wall Street Journal (3rd version). 2000. Photo credits: MoMa

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Today, the last day of the exhibition “Someone is getting rich” @wereldmuseum.amsterdam curated by @cpilto with a beautiful new publication

…
#Repost

Femke Herregraven, ‘Attachment 2’
(study, work-in-progress), 2018– 2023.

In this video essay commissioned for the exhibition, Herregraven brings into conversation two landscapes haunted by 18th and 19th-century Dutch investments in slavery: Elswout, the idyllic former country estate near Haarlem of financier Johanna Borski, now national park land, and plantations along the Mississippi River in Louisiana, with their legacy of environmental racism.

Johanna Borski (later known as the ‘Widow Borski’) is celebrated today as a role model for Dutch female entrepreneurs. In Herregraven’s eyes, however, her and her husband’s co-financing with Hope & Co. of the Louisiana Purchase and her investment in the Citizens’ Bank of Louisiana (which specialised in plantation credit) shows a more complicated and troubling figure: her emancipation and entrepreneurship as a woman in the Netherlands were underpinned by the enslavement and exploitation of people elsewhere. The value that was extracted from the lands of the plantations and the bodies of the enslaved people in Louisiana was – through her US banking activities – distributed to Elswout.

Connecting the two distant landscapes is a musical composition that voices the names of people who became the property of the Citizens’ Bank of Louisiana, now part of JPMorgan Chase. “Nelson, Philip, Sylvester, Sally and her two children...” and hundreds of others, as well as many “unnamed individuals”, who were inscribed as collateral for defaulted plantation loans. Herregraven retrieved their names from an obscure online server, compiled in a pdf called ‘Attachment 2’.

This work-in-progress gives a glimpse into the ongoing project made in close collaboration with composer Dennis W. Thompson II @nerienii and poet Jörgen Gario @unomjg and performed by @seendeeka @deborah_ggomez @itstezi @juleshagens @irene.cellist @couple_positive

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L'exposition "someone is getting rich" au Tropenmuseum d'Amsterdam toujours en cours...elle dure jusqu'au 7 janvier 2024

Merci Carrie! Merci Wouter!

#tropenmuseum #pascalemonnin #ladettedelindépendance #ladoubledette #Haïti #haiti #france #amsterdam

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LAATSTE KANS | Someone is getting rich

In de tentoonstelling Someone is getting rich maken hedendaagse kunstenaars zichtbaar welke koloniale uitvindingen aan de wieg staan van het mondiale financiële systeem. Maar waar komt deze titel vandaan?

Conceptuele kunstenares Claire Fontaine (@foreignerseverywhere) ontleende deze universele uitspraak – iemand wordt rijk - aan graffiti in New Orleans, Louisiana, na de orkaan Katrina (2005). New Orleans was een financieel centrum in het zuiden van de Verenigde Staten ten tijde van de slavernij. Ook Nederlandse financiers droegen daaraan bij. Tijdens de orkaan woonde de zwarte bevolking van New Orleans grotendeels in de laaggelegen gebieden van de stad, die massaal overstroomden.

Te zien t/m 7 januari 2024!

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