Parallel presents : the art of Pierre Huyghe

279 Pages·2012·12.863 MB·English

by  Huyghe, Pierre, Barikin, Amelia, Huyghe, Pierre

Parallel Presents
9469.indb 1 8/23/12 10:29 AM
The MIT Press CaMbrIdge, MassaChuseTTs London, engLand
9469.indb 2 8/23/12 10:29 AM
Parallel Presents
The ArT of Pierre huyghe
AmeliA BArikin
9469.indb 3 8/23/12 10:29 AM
© 2012 Massachusetts Institute of Technology
All rights reserved. No part of this book may
be reproduced in any form by any electronic or
mechanical means (including photocopying,
recording, or information storage and retrieval)
without permission in writing from the publisher.

MIT Press books may be purchased at special
quantity discounts for business or sales
promotional use. For information, please email
[email protected] or write
to Special Sales Department, The MIT Press,
55 Hayward Street, Cambridge, MA 02142.

This book was set in Archer and Interstate by
the MIT Press. Printed and bound in Spain.

Library of Congress Cataloging-in-Publication Data
Barikin, Amelia, 1979–
Parallel presents : the art of Pierre Huyghe / Amelia
Barikin.
 pages cm.
Includes bibliographical references and index.
ISBN 978-0-262-01780-0 (hardcover : alk. paper)
1. Huyghe, Pierre, 1962–—Criticism and
interpretation. I. Title. II. Title: Art of Pierre
Huyghe.
N6853.H88B37 2012
700.92—dc23
2011052778

10 9 8 7 6 5 4 3 2 1
9469.indb 4 8/23/12 10:29 AM
For Vickie Douglas
august 4, 1951–March 7, 2011
9469.indb 5 8/23/12 10:29 AM
9469.indb 6 8/23/12 10:29 AM
ConTenTs
acknowledgments ix
Introduction: In What Time Do We Live? 1
1 Early Work 9
2 The Open Present 39
3 A Movie Navigated by Stops 71
4 Figures of Speech 99
5 Inside-Out Utopia 141
6 Topological Systems: An Economy of Time 183
notes 225
Works Cited 252
Index 263
9469.indb 7 8/23/12 10:29 AM
9469.indb 8 8/23/12 10:29 AM
ACknowledgmenTs
This book has greatly benefited from the assistance of numerous institutions and
individuals. I am grateful to all the friends, family, and colleagues who contributed
their time, feedback, love, knowledge, support, and editorial skills. Special thanks
go to Albert Mishriki; Vickie, Robert, and Scott Douglas; Drew Roberts; Helen
Metzger; Karla Pringle; Ben Bourke; Jesslyn Moss; James Jamison; Huw Hallam;
Tim Webster; Joe Talia; Ryan Johnston; and most especially to Angela Woods and
Anthony Gardner, whose remarkable critical insights have significantly shaped
my thoughts.
This book commenced as a doctoral thesis at the University of Melbourne,
Australia, under the supervision of Charles Green, whose work continues to inspire
my own. I would like to thank my associate supervisor Anthony White for his com-
ments on earlier drafts, as well as my colleagues Nikos Papastergiadis and Scott
McQuire at the School of Culture and Communication for their support and wis-
dom. George Baker’s and Felicity Scott’s critical feedback on the original incarna-
tion of the manuscript also proved immensely valuable in preparing this book for
publication, and I thank them both for their comments.
Research was conducted at Dia Art Foundation, New York; the Public Art
Fund, New York; Portikus gallery, Frankfurt (special thanks to Jochen Volz); Ca-
stello di Rivoli Museo d’Arte Contemporanea; the Museum of Contemporary Art,
Sydney; the Musée d’Art Moderne de la Ville de Paris; Marian Goodman Gallery,
Paris and New York; and the former Galerie Roger Pailhas in Marseille. Fund-
ing for research and writing was provided by an Australian Postgraduate Award,
9469.indb 9 8/23/12 10:29 AM