This requires the artists themselves to become characters in the continuous exploration of how a novel is created. Once we know this, it influences the perspective of all the people involved, including myself. Looking for Headless dramatises and regulates everything that comes in its way, transforming it into performance. And since this performance appears to be orchestrated and controlled from a hidden place, the work plays on our paranoia.
In the book Headless a link is enacted between the Bahamasregistered offshore company Headless Ltd and the aptly-named secret political group created by Georges Bataille in the late 1930s, Acéphale (headless). One of Acéphale’s key strategies was to evade publicity and remain secret, which, in turn, gave rise to a plethora of legends regarding the group’s actual activities. By presenting evasion as a political, economic and artistic strategy, Goldin +Senneby illustrate how the issue of the boundary between the open and the closed, the secret and the public, is constructed and works.
Goldin + Senneby
Based in Stockholm
2007 + 2004 Kungl. Konsthögskolan/Royal University College of Fine Arts, Stockholm
Selected solo exhibitions
2010 The Decapitation of Money, Kadist Art Foundation, Paris [FR]
2008 Headless. From the Public Record, Index, Stockholm
2008 Goldin + Senneby: Headless, The Power Plant, Toronto [CA]
Selected group exhibitions
2010 Uneven Geographies, Nottingham Contemporary, Nottingham [UK]
2008 In the Living Contact, 28th Bienal de São Paulo, São Paulo [BR]
2008 Data Recovery, GAMeC, Bergamo [IT]
Gregory Burke, Ana-Paula Cohen, Kim Einarsson, Hinrich Sachs, Goldin + Senneby: Headless, The Power Plant, Toronto, 2009.
Christiane Paul, Digital Art, Thames & Hudson, London, 2008: s./pp. 241–243.
Kim Einarsson, “Nameless Acting”, Geist #11, 12, 14, Stockholm, 2007–08: s./pp. 105-117.