But if everything is potentially everything else, complained the translator, what am I doing
here?
From “Afterword: The Death Of The Translator” by George Szirtes

Works by more than forty artists from across the globe – including a strong contingent of
Hong Kong-based artists, many of whom have never shown at Witte de With before– are
gathered around key concepts such as time, duration and space (Douglas Gordon, Felix
Gonzalez-Torres, On Kawara), memory and inscription (Ang Song Ming, John Cage, Sharon
Hayes), transformation (Bik Van der Pol, Nicolás Lamas), pleasure (Ivan Argote, Chu Yun,
Willem de Rooij, Haegue Yang), and encounters (Lee Kit, Narcisse Tordoir). The relations
and transferences between the presented artworks are guided by notions such as tension,
repetition, variation, and momentum, reminiscent of Contact Improvisation, a dance method
developed by choreographer Steve Paxton.

How can one work of art moderate another one? Can an audience become a moderator of the
works on view? How much translation is needed to bring out meaningful relations between
works created by different artists? If everything is connected, what is the shared connective
language? The Part In The Story deals with the transmissive qualities of objects, situations,
and storytelling, where one can dissolve into the others.

Guilty Pleasures, Incidents of Travel, A Thing At A Time, A Fictional Residency, Stories and
Situations
, and The Social Contract, each project installment of Moderation(s) questioned or
redefined the conditions which impact the creation and production of objects, situations, and
stories. As such, the dynamic triangulation between these three axis is the central topic of
The Part In The Story, which can be seen as an epilogue and a reprise of the manifold motifs
at play in the Moderation(s) program.

An epilogue is the final chapter at the end of a story. It can occur a significant period of time
after the main plot has ended, and may offer scenes only tangentially related to the subject
of the story. An epilogue can continue in the same narrative style and perspective as the preceding story, although occasionally the form can be drastically different from the overall story.

—With Thanks To:

Special thanks goes to all the artists, Dansateliers (Rotterdam), De Doelen (Rotterdam),The Felix Gonzalez-Torres Foundation (New York), Maropol Group BV (Werkendam), and the following lenders: Andréhn-Schiptjenko (Stockholm), Bugada & Cargnel (Paris), Caldic Collectie (Wassenaar), Collection Anne-Shelton Aaron, EMI Private Collection, Galerie Buchholz (Cologne), Glenstone (Potomac), Hanart TZ Gallery (Hong Kong), Kadist Art Foundation (Paris – San Francisco), Koninklijke Bibliotheek (The Hague), M+ Museum for visual culture (Hong Kong), Moiz Zilberman Collection (Istanbul), Sculpture International Rotterdam /Centrum Beeldende Kunst Rotterdam, Stedelijk Museum Amsterdam, Tanya Leighton (Berlin), Van Abbemuseum (Eindhoven), Vitamin Creative Space (Beijing), and other private collections.


—Supported by

Support by AMMODO, Iaspis, Mondriaan Fund, Outset Netherlands, SAHA.
Supporting galleries: Bugada & Cargnel, Edouard Malingue Gallery, Hanart TZ Gallery.
Media support by Randian.

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