RE–SITED evaluates historical and contemporary thinking structures that examine both the psychology of the “exhibition site” and the “conceptual space” — its particularities, materiality and direct relationship to the work of art.

RE–SITED examines the alterations to the art-viewing process in our current meta-disciplinary age, where the boundaries between the visual arts, science, technology, and architecture, among others, are intersecting into a unified shared space.

RE–SITED translates sculpture as an extended field of vision, as part of the land, site and as an interactive perceptual and architectural space. We aim to generate new knowledge that re-examines the historical sculptural alterations to the phenomenal landscape, which not only re-defined the classification of sculpture, but also the cultural field of architecture. By intersecting the disciplines of sculpture, architecture, physics and technology, among others, and by employing the site as the medium itself, artists working at this intersection, create a new mode of representation and challenge the reading of the artwork and the site it occupies. They collapse the “representational” and “real” space into a third kind of space, becoming an undefined space. It is this undefined space that is of interest.

RE–SITED implements new approaches, active collaboration and research across diverse fields—encouraging the transfer of knowledge and the transmission of new discourse within an extended field of inquiry. It is our aim through the presentation of large-scale environments to examine this historical shift and propose a new kind of “spatialism.”

RE-VERB The team

Sarah Oppenheimer. MF-142, 2009
Flooring, construction materials and existing architecture
Dimensions variable
Exhibition site: Annely Juda Fine Art, London, United Kingdom
Courtesy of Sarah Oppenheimer
Jose Dávila
Untitled, 2014
Framed archival pigment print
Paper: 52 13/16 x 63 1/4 inches (134.1 x 160.6 cm)
Framed: 54 1/2 x 65 x 2 3/4 inches (138.4 x 165.1 x 7 cm)
Edition of 4 with 1 AP
Installation site: Sean Kelly Gallery, New York
Photography: Melissa Bianca Amore
Walter De Maria
The 2000 Sculpture, 1992
Exhibition site: Hamburger Bahnhof, Berlin, Germany
Lygia Pape
Ttéia 1C, 2003/2012
Gold threads, wood, nails, light
Dimensions variable
Exhibition site: Moderna Museet, Stockholm, Sweden
Photography: Georges Armaos
Larry Bell
Pink Compass, 1983
Pink Rosa colored glass
182.9 × 548.6 × 548.6 cm / 72 × 216 × 216 inches
Installation site: ARCO Center for Visual Art, Los Angeles, United States
© Larry Bell
Courtesy the artist and Hauser & Wirth