A House of Leaves

First Movement at DRAF, Camden

20 September–10 November 2012
Roberts Institute of Art
  • Horst Ademeit
  • Ida Applebroog
  • Phyllida Barlow
  • Nina Beier
  • Louise Bourgeois
  • Bettina Buck
  • Miriam Cahn
  • Keith Coventry
  • Tony Cragg
  • Enrico David
  • Matthew Day Jackson
  • Shannon Ebner
  • Thomas Houseago
  • Bethan Huws
  • Chosil Kil
  • Martin Kippenberger
  • John Latham
  • Alvin Lucier
  • Marie Lund
  • Benoît Maire
  • Victor Man
  • Kris Martin
  • Eddie Peake
  • Man Ray
  • Steve Reich
  • Pietro Roccasalva
  • Wilhelm Sasnal
  • Rebecca Warren
  • Lawrence Weiner
Roberts Institute of Art

Thomas Houseago, Portrait- Double Sided, 2009; Enrico David, Browning in Denial, 2010; Adam Thompson, Untitled (Proposal for an Eclipse), 2009.

Courtesy the David and Indrė Roberts Collection. Photo: Mark Blower
Roberts Institute of Art

Tony Cragg, The Fanatics, 2006 and Man Ray, Le Gant Perdu (The Lost Glove), 1967–68.

Courtesy the artists; the David and Indrė Roberts Collection Photo: Mark Blower

The first exhibition at DRAF’s new space in Camden, London, featuring works from the David and Indrė Roberts Collection.

A Houses of Leaves, references a work by American novelist Mark Z. Danielewski in which different storylines, told in different styles, intertwine. The story centres on a house that keeps changing, a house that resists measurement because its interior gradually becomes larger than its exterior.

This exhibition has been conceived as a process lasting six months, a symphony structured in three movements and an epilogue, each deriving from the study of a single key work from the David and Indrė Roberts Collection that defines the whole movement: Echo VIII, a sculpture by Louise Bourgeois (First Movement); Fuji, an abstract painting by Gerhard Richter (Second Movement); and Silent Score, a performance by Pierre Huyghe (Third Movement). The Epilogue moves towards the void, emptying the exhibition space to explore the architecture and volume of the space and reveal the long-term works — special commissions and interventions inscribed in the building itself. Each division will also highlight one different aspect of our project for a museum: the museum as structure in the first movement, as school in the second, as stage in the third and as site in the final movement.

Roberts Institute of Art

Installation view of A House of Leaves: First Movement, 2012.

Photo: Mark Blower
Roberts Institute of Art

Bettina Buck, Swelling IV, 2010; Horst Ademeit, Untitled, 1991–2002; Thomas Houseago, Portrait - Double Sided, 2009.

Courtesy the David and Indrė Roberts Collection. Photo: Mark Blower