Rarely seen artworks from the David Roberts collection become accomplices of an uncanny fiction. Albert the kid is ghosting occupies the entire DRAF building, transforming the space into an unsettling mise-en-scene of defiance: a crime scene.
…having last left you at the foundation, I walked away with this thought neologism ghosting all over me. I could give it a syntax long forgotten and shortly remembered literally footsteps from having left you. Albert the kid is ghosting. There’s this bridge with these words done painted on it. Albert the kid is ghosting. Looking for or should I say having found this model of equivalence to one disappearing act of a presence in this sentence thrown up on a wall I feel that this should be the title of the exhibition. ALBERT THE KID IS GHOSTING.
The exhibition presents each work in a precisely-designed environment of bespoke materials and furnishings. Hans Josephsohn’s 1979 brass head sits on a beige concrete plith, facing gold damask curtains. Etel Adnan’s 2000 landscape hangs over a floor of polished red pebbles. Beside Philip Guston’s Drive (1969), is a wall of dark floral wallpaper. Vases of lilies, crimson walls, neon sheer fabric curtains and chainlink screens shape emotionally-charged situations throughout the space.
Works from the collection are complemented with new commissions by Michael E Smith and loans of works by Ida Applebroog and Andreas Slominski. English language poetry by Etel Adnan will be performed, as well as other live events. Writers commissioned to research in depth and produce studies of the works include Hannah Black (on Ida Applebroog), Harry Burke (on Etel Adnan), Craig Burnett (on Philip Guston) and Matthew McLean (on Andreas Slominski).