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The Royal Institute of Institutes (R-I-O-I)

Art space as art practice

R-I-O-I is a hypothetical institutional entity, subdivided by a structure of hypothetical departments, wings, corridors, offices, and rooms. In theory, it is based in the exploration of what one might call Art-Space-As-Art-Practice. It can be activated for other purposes, virtually, physically, depending on the activity. In its present state, it houses several different departments: the Archive of the Royal Institute of Normalcy, the Museum of the Objectified Unwilling, a specialized wing devoted to Flatness, the Royal Institute of Moderate Fulfillment, and its resident fellow occupies the Royal Institute of Other Options.

R-I-O-I is a framework which questions the role of the artist and art practice, and the museum space. Here they potentially one - which asks the question: what is the difference between artistic production and museum diplay? There is an element of unresolved "otherness" in the mediation and display in museum institutions, something close to the discordance and breakdown inherently found in modes of translation. I would argue that there is a similar relationship to artistic production itself. Remnants, inconsistencies, untranslatables leftover, which disrupt the frequency of communication to visitor, viewer, audience alike, whether from one artwork or from the director's decision-making for the exhibition. Here I employ methods of translation and communication both as artist and as curator, for my own production and also in collaboration with other artists, curators, or institutions.

Can an art space be an art practice? Can it perform alternatively as a flexing, oscillating, fluxing artwork itself? How could it be presented as an installation, inside another space?

The Institute is expandable and collapsible in form and context. At times it may appear imposing and grandiose, while other times revealing itself as only one object. Perhaps it invokes the liminal in this way and embraces its own Kafka-esque bureaucratic trickster element. A museum that perhaps invokes its own critique? R-I-O-I pokes at the tissue between the shoulders of Fact and Fiction, and what we think we already know.

With that, it explores the evolving form of the museum. The evolving form of the object. The space between them. And the space between them and their representation.

Art objects live here. Cultural objects live here. Storied objects live here. Potentially meaningless objects live here. They all potentially live alongside text, publication, print, sound, installation, and performance, as the project sees fit, or unfit.

A website is constructed as a first experiment.