Artists in Conversation: Charlotte Moth

Bomb Magazine
Published September 4, 2014.

Artists in Conversation: Charlotte Moth

Introduction:

I met Charlotte Moth in August 2012 in Paris, where she lives and works. She was preparing for an isolated year in the residency of Schloss Solitude in Stuttgart following her first major solo exhibition, at the Centre d’Art Contemporain Genève, which had just closed. We spent the afternoon looking through images of this exhibition, which brought together photographs, sculptures, and films made since the beginning of her Travelogue, a collection of images of exterior and interior architectural spaces without chronological or geographic indicator that evolves via processes of accumulation and deferral. The exhibition also included two works by her frequent collaborators Falke Pisano and Peter Fillingham.

Having followed her practice since that first meeting, we reconnected earlier this year in the context of a screening program I organized at the Stedelijk Museum Bureau Amsterdam (SMBA) called “The Color of Capital.” Immersing myself in her work in preparation for this event, I noticed for the first time its profound resonance with the rise of object-oriented ontology in curatorial and artistic practice, an approach that investigates the “relation between persons and things while denying the hierarchical superiority of the human subject,” as described by Emily Apter. Without naming it as such, the following conversation excavates these ontologies in Moth’s work, focusing in particular on her most recent film The story of a different thought, which will be shown throughout this year at installations in The Temporary Gallery in Cologne, the Skulpturenmuseum Glaskasten in Marl, and De Vleeshal in Middelburg, and also screened alongside other of her films at the Centre Pompidou on September 25th as part of their Prospectif cinéma series. In 2015, Moth will show a newly commissioned work in a solo exhibition at Tate Britain’s Archive Room.

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