An Invisible Infrastructure Guides You Through ‘Handless Operative’
review by Rel Robinson May 21, 2019
Moving through the show, it is Anouk Kruithof’s work Never Ending Pile of a Past that best embodies the category of “liberated from production.” Ten thousand identical photographs of a pile of papers sit as takeaways in a neat stack in the center of the gallery. The artist is absent; it’s the viewer who activates the piece. By retrieving a print we make the piece more closely resemble the image in hand—and the space between what’s shown, what’s seen and what’s experienced conflates.
“I think photography can share versions of truths, it can act as a document but it is always and forever a stand-in for time as a marker,” Bibeau says. In the case of Kruithof, the depreciating nature of the stack of photographs mirrors the precarity of the image featured—a stack of papers itself. In the same fashion as Felix-Gonzalez Torres’s 1991 installation of a 175-pound pile of wrapped candies, Untitled (Portrait of Ross in L.A.), Never Ending Pile of a Past shifts from object to experience, and therefore memory—the takeaway becomes a marker of a moment in time.