This page contains a Flash digital edition of a book.
fuTure greATs
Matt Keegan by Shamim M. Momin
The seemingly oxymoronic notion of ‘connective interruptions’ provides a stripping down the architecture to its basic elements, Keegan has excised
useful way to consider the work of Matt Keegan, whose various letters from the Sheetrock that spell out ‘good to see you’. Passing viewers
incarnations as artist, editor and curator exemplify an idea of expansive look directly through the letters, alternately engaging the people or space
practice so prevalent in recent art. His exhibitions, participatory beyond and being rejected from that connection, with the wall serving as
publications and curatorial projects explore ideas of community without both membrane and barrier, a means to circumscribe a community of
idealism, interrogating both literally and metaphorically how social spaces viewers in a shifting state of identification (You, Me, I, We being the title of
are staged and described, and where absence, incision and removal can a work in the show), what Keegan has called ‘a space of perpetual
more powerfully frame identity then emphatic presence. implication/engagement’.
In 2005, dealer Andrew Kreps invited the artist to programme his The exhibition overall is replete with an interest in layers and
interim space (itself an oddly shaped space, evoking a kind of transitional, double-sidedness. For example, a stencil of the word ‘men’ is excised
interstitial sensibility) for five months. Expanding the notion of discourse directly from the wall, repeated and layered to create shaped abstractions
among artists, and his interest in intersection and collaboration, Keegan’s that hover between a formal composition and a frighteningly intense
efforts resulted in Etc., a kind of exquisite corpse series of events, lectures, invocation. Elsewhere, images of men lounging casually in a chair are
exhibitions and screenings by invited artists, who in turn designed their own layered onto the space of a larger version of the same man’s face, whose
events, often including other artists or performers. Eventually the series visage has been excised. Much like the wall text, they evoke both
was documented in a folder-style publication, which contained discrete community and regimentation.
documents of each individual effort – a format evoking the important Keegan described North Drive Press as a ‘conduit product’, a phrase
conceptual conceit of communal function that maintains the authorial equally applicable to his other endeavours. Similarly, a collaboration in
mark (quite literally holding together linked but distinct approaches loosely 2006 with the artist Leslie Hewitt, From You to Me and Back Again,
but deliberately under a single cover). This constellated approach to an elegantly refined this current of motion and reversal, individuality and
artist’s community of ideas is further expanded in Keegan’s ongoing community, and the ever-shifting shape of our most meaningful
publication North Drive Press. A limited-edition boîte-en-valise of artist exchanges.
interviews and multiples, and a clear conceptual descendant of the seminal
Aspen magazine project, it is approached by Keegan and his co-editor as
a way to collect and disperse those linked conversations.
The central component of Keegan’s most recent exhibition, Any
Day Now (2007), might here function to capture these interleaved
interests. A large wall sculpture wended its accordion-like way diagonally
across the gallery space, serving to redirect the flow of viewers in the
this page: Any Day Now, 2007 (installation views).
gallery and thus activating the space of transit itself. Keegan’s interest in facing page: Humberto, Humberto, Humberto, 2007,
the idea of – perhaps more accurately the construction of – social space is
three digital c-prints mounted on gatorboard,
246 x 104 x 2 cm, edition of 2 + 1AP. All works:
further reflected as one navigates around the drywall structure. Literally Courtesy D’Amelio Terras, New York
Artreview 84
FUTURE~1.INDD 84 11/2/08 12:09:04
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