For Kozlov, and her peers, materials were of lesser importance than conceptual meaning. Kozlov's work featured in a number of landmark exhibitions that defined this period, such as One Month (1969) organised by Seth Siegelaub, Information (1970) curated by Kynaston McShine at the Museum of Modern Art in New York and the Number Shows, a series of exhibitions organised by Lucy Lippard between 1969 and 1974.
Information draws from Kozlov's to date unexamined archive to explore how sculpture became redefined during this art historical moment when the idea came to take precedence over the object. Kozlov used materials often associated with gathering information for empirical research, such as graph paper, photographic film and audio tapes, chosen for their utilitarian qualities. Drawing on research into neuroscience, human behaviour and habits, her sculptures range from books to typed paper sheets and musical notations.
Underscoring Kozlov's practice is an exploration of the limits of technology and the lifespan of information. 'Information: No Theory' (1970), for example, is a reel-to-reel tape recorder that collects the surrounding sounds of the gallery space. Equipped with a continuous loop tape, the recorder constantly records over previously recorded sounds, erasing its content. Other works in the exhibition include a closed canister of 8mm leader film, and a strip of white 16mm leader film, again displayed in a canister.
Kozlov's sculptures, drawings and notes for works consistently explore how knowledge is documented, processed and communicated. Often she remade her works, blurring the boundary between the original and its exhibition copy.Christine Kozlov: Information endeavours to create a rapport between her sculptures, their exhibition copies, archival material, photographic documentation and contextual documents to addresses sculpture's concern with objecthood, space, encounter, time, duration, and our experience of an object and its imagined conceptual content.
Showing in Galleries 1, 2 and 3 during this exhibition is Katrina Palmer: The Necropolitan Line. Using as its source material the 1854 Necropolis Railway that linked London to what was then Western Europe's largest cemetery, Katrina Palmer (b. 1967) unsettles the very definition of sculptural form by seeking to locate the body through its absence. In Gallery 4 until 3 January 2016, Object Lessons explores the Victorian approach to teaching through objects. From 3 February 2016 Olga Jevrić: Proposals for Monuments, a focused display of abstract proposals for unrealised monuments by the Serbian sculptor Olga Jevrić (1922-2014), will be showing in Gallery 4.
The Terra Foundation for American Art supported essential curatorial research in the USA for Christine Kozlov: Information.