Luis Jacob lives in Toronto, Canada. Working as artist, curator, and writer, his diverse practice addresses issues of social interaction and the subjectivity of aesthetic experience.
Solo exhibitions include: Pictures at an Exhibition, Museum of Contemporary Canadian Art (Toronto); Without Persons, Art in General (New York City); Tableaux Vivants, Fonderie Darling Foundry (Montréal); 7 Pictures of Nothing Repeated Four Times, in Gratitude, Städtisches Museum Abteiberg (Mönchengladbach); The Thing, September Gallery (Berlin); Habitat, Hamburger Kunstverein (Hamburg); and A Dance for Those of Us Whose Hearts Have Turned to Ice, and Other Works, Morris and Helen Belkin Art Gallery, University of British Columbia (Vancouver).
Group exhibitions include: Haunted: Contemporary Photography / Video / Performance, at the Solomon R. Guggenheim Museum (New York) and Guggenheim Museum Bilbao (Spain); Animism, Kunsthalle Bern (Switzerland) and Extra City Kunsthal Antwerpen (Belgium); Dance with Camera, Contemporary Art Museum (Houston) and Institute of Contemporary Art, University of Pennsylvania (Philadelphia); and documenta12 (Kassel).
Artist Statement: I always wonder why we look at pictures — why, in other words, we turn towards fictions in order to conceive of something true.
Exhibitions rehearse their audience in various ways of seeing, and of relating to what we see. We can therefore say that an art exhibition is at once an actual exhibition, and a performance of one. Exhibitions are models.
Artists have ceaselessly tried to invent images that allow us to perceive the difference between the dead version of things, and the living version of things. I believe this is what all artists are trying to do when they make art, and what all viewers are trying to experience when they go to see art: to create the conditions for the artwork to come alive.
Luis Jacob
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Luis Jacob lives in Toronto, Canada. Working as artist, curator, and writer, his diverse practice addresses issues of social interaction and the subjectivity of aesthetic experience.
Solo exhibitions include: Pictures at an Exhibition, Museum of Contemporary Canadian Art (Toronto); Without Persons, Art in General (New York City); Tableaux Vivants, Fonderie Darling Foundry (Montréal); 7 Pictures of Nothing Repeated Four Times, in Gratitude, Städtisches Museum Abteiberg (Mönchengladbach); The Thing, September Gallery (Berlin); Habitat, Hamburger Kunstverein (Hamburg); and A Dance for Those of Us Whose Hearts Have Turned to Ice, and Other Works, Morris and Helen Belkin Art Gallery, University of British Columbia (Vancouver).
Group exhibitions include: Haunted: Contemporary Photography / Video / Performance, at the Solomon R. Guggenheim Museum (New York) and Guggenheim Museum Bilbao (Spain); Animism, Kunsthalle Bern (Switzerland) and Extra City Kunsthal Antwerpen (Belgium); Dance with Camera, Contemporary Art Museum (Houston) and Institute of Contemporary Art, University of Pennsylvania (Philadelphia); and documenta12 (Kassel).
Artist Statement:
I always wonder why we look at pictures — why, in other words, we turn towards fictions in order to conceive of something true.
Exhibitions rehearse their audience in various ways of seeing, and of relating to what we see. We can therefore say that an art exhibition is at once an actual exhibition, and a performance of one. Exhibitions are models.
Artists have ceaselessly tried to invent images that allow us to perceive the difference between the dead version of things, and the living version of things. I believe this is what all artists are trying to do when they make art, and what all viewers are trying to experience when they go to see art: to create the conditions for the artwork to come alive.