{"id":1149,"date":"2022-12-26T18:53:48","date_gmt":"2022-12-26T17:53:48","guid":{"rendered":"https:\/\/danaepanchaud.net\/?page_id=1149"},"modified":"2024-04-01T19:19:46","modified_gmt":"2024-04-01T17:19:46","slug":"lisa-barnard-the-canary-and-the-hammer","status":"publish","type":"page","link":"https:\/\/danaepanchaud.net\/index.php\/exhibitions\/lisa-barnard-the-canary-and-the-hammer\/","title":{"rendered":"Lisa Barnard. The Canary and the Hammer"},"content":{"rendered":"\n
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2022 | Centre de la photographie Gen\u00e8ve
Curated with Claus Gunti<\/p>\n\n\n\n

The Centre de la photographie Gen\u00e8ve presents the first exhibition in Switzerland of British visual artist Lisa Barnard. It was the first comprehensive presentation of her most recent major project.<\/p>\n\n\n\n

Photographed across four years and four continents, The Canary and The Hammer <\/em>details our multifaceted reverence for gold and its role in humanity\u2019s ruthless pursuit of progress. Prompted by the financial crisis of 2008 and its stark reminder of the global west\u2019s determination to accumulate wealth, Lisa Barnard sets out to question gold\u2019s continued status as economic barometer amidst new intangible forms of technological high finance.<\/p>\n\n\n\n

The title of the project refers to the historical use of canaries in mines to detect carbon monoxide. Similarly, gold, a safe haven asset in times of economic instability, usually rises in price in times of crisis and, like the canary, becomes an indicator of the extent of the crisis to come. The hammer is a tool capable of breaking down the structures in which it is embedded.<\/p>\n\n\n\n

Gold is ubiquitous in modern life; the mineral is concealed at the heart of much of the technology we use and is, most fundamentally, a potent symbol of value, beauty, purity, greed and political power. The Canary and The Hammer<\/em> strives to connect these disparate stories \u2013 from the mania of the gold rush and the brutal world of modern mining, which extends to extraterrestrial realms, to the sexual politics of the industry and gold\u2019s often dark but indispensable role at the heart of high-tech industry, or the considerable challenges created by the treatment of its waste.<\/p>\n\n\n\n

By addressing these issues through photography, Lisa Barnard in turn raises the question of how her chosen medium can respond to such abstract events and concepts. Through a mix of images, text and archival material, this project provides a fascinating insight into the troubled history of gold and the complex ways it intersects with the global economy. The result is an ambitious project, one sketching a personal journey in which she ultimately tackles the complexity of material representation in these fragmented and troubling times.<\/p>\n\n\n\n

The Canary and The Hammer<\/em> was funded by the Getty Images Prestige Grant and published by MACK.<\/p>\n\n\n\n

Le Centre de la photographie Gen\u00e8ve pr\u00e9sente la premi\u00e8re exposition en Suisse de l\u2019artiste visuelle britannique Lisa Barnard. Il s\u2019agit de la premi\u00e8re pr\u00e9sentation exhaustive de son dernier projet d\u2019envergure.<\/p>\n\n\n\n

R\u00e9alis\u00e9 sur quatre ans et sur quatre continents, The Canary and the Hammer<\/em> [Le canari et le marteau] explore les multiples facettes de notre fascination pour l\u2019or, et son r\u00f4le dans la poursuite humaine du progr\u00e8s. Interpel\u00e9e par la crise financi\u00e8re de 2008 et la d\u00e9termination obstin\u00e9e de l\u2019Occident \u00e0 accumuler des richesses, Lisa Barnard interroge le maintien du statut de l\u2019or comme barom\u00e8tre \u00e9conomique \u00e0 l\u2019\u00e8re de nouvelles formes financi\u00e8res immat\u00e9rielles.<\/p>\n\n\n\n

Le titre du projet fait r\u00e9f\u00e9rence \u00e0 l\u2019usage historique de canaris dans les mines pour d\u00e9tecter le monoxyde de carbone. De mani\u00e8re similaire, l\u2019or, valeur refuge en temps d\u2019instabilit\u00e9 \u00e9conomique, voit g\u00e9n\u00e9ralement son cours monter lors de crise, et devient, comme le canari, un indicateur de l\u2019ampleur de la crise \u00e0 venir. Le marteau, quant \u00e0 lui, est un outil capable de briser les structures dans lesquelles il est ench\u00e2ss\u00e9.<\/p>\n\n\n\n

L\u2019or est omnipr\u00e9sent dans la vie moderne. Ce min\u00e9ral est discr\u00e8tement log\u00e9 au c\u0153ur d\u2019une grande partie de la technologie que nous utilisons, mais il est aussi, plus fondamentalement, un puissant symbole de valeur, de beaut\u00e9, de puret\u00e9 comme de cupidit\u00e9 ou de pouvoir politique. The Canary and the Hammer <\/em>met en lien ces histoires au premier abord disparates: la mythique ru\u00e9e vers l\u2019or californienne, le monde brutal de l\u2019exploitation mini\u00e8re moderne qui s\u2019\u00e9tend jusqu\u2019aux territoires extraterrestres, les extraordinaires caract\u00e9ristiques physiques de l\u2019or et son r\u00f4le parfois opaque au sein de l\u2019industrie high-tech, ou les d\u00e9fis consid\u00e9rables li\u00e9s au traitement de ses d\u00e9chets.<\/p>\n\n\n\n

En abordant ce sujet par le biais de la photographie, Lisa Barnard soul\u00e8ve \u00e9galement la question de la mani\u00e8re de laquelle ce m\u00e9dium peut rendre visibles des \u00e9v\u00e9nements et des concepts aussi h\u00e9t\u00e9rog\u00e8nes qu\u2019abstraits. Gr\u00e2ce \u00e0 une combinaison d\u2019images, de textes et de documents d\u2019archives, son projet offre un aper\u00e7u fascinant de l\u2019histoire tumultueuse de l\u2019or et de ses liens complexes avec l\u2019\u00e9conomie mondiale. Le r\u00e9sultat est un projet ambitieux, qui esquisse un parcours personnel dans lequel l\u2019artiste s\u2019attaque avec finesse \u00e0 la complexit\u00e9 de la repr\u00e9sentation mat\u00e9rielle en ces temps fragment\u00e9s et troublants.<\/p>\n\n\n\n

Soutenu par la Getty Images Prestige Grant, The Canary and the Hammer<\/em> a fait l\u2019objet d\u2019une publication chez MACK.<\/p>\n\n\n\n

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Exhibition views by Annik Wetter<\/p>\n","protected":false},"excerpt":{"rendered":"

2022 | Centre de la photographie Gen\u00e8veCurated with Claus Gunti The Centre de la photographie Gen\u00e8ve presents the first exhibition in Switzerland of British visual artist Lisa Barnard. It was the first comprehensive presentation of her most recent major project. Photographed across four years and four continents, The Canary and The Hammer details our multifaceted […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":182,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1149","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/1149","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/comments?post=1149"}],"version-history":[{"count":1,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/1149\/revisions"}],"predecessor-version":[{"id":1162,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/1149\/revisions\/1162"}],"up":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/182"}],"wp:attachment":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/media?parent=1149"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}