An Interview with Christine Messineo, Co-curator of the "Merci Mercy" Exhibition at Vladimir Restoin Roitfeld

Cedar Pasori
Jan 30, 2013 6:38PM

I recently interviewed the co-curator of Merci Mercy, a new exhibition at Vladimir Restoin Roitfeld (running until February17, 2013). The works she and Vladimir chose examine the many ways language and text provide narrative and meaning in and out of contemporary art. It includes a range of younger and older, more established artists in conversation with one another about meaning, context, reproduction, and repetition.

Many know Christine as Director of Bortolami Gallery, as an executive committee member at the Whitney Museum of American Art, and as a regular contributor to Dossier Magazine. My favorite quote from our conversation comes from when I asked her why the exhibition is named Merci Mercy. She said, "The name comes from the central piece in the exhibition by Louise Bourgeouis, a wall panel titled Merci Mercy. It reflects the oscillating aspect of language, through a word that's pronounced the same in two languages but has two very different meanings. There's a little movement when you’re considering language—a little room to be misunderstood or to experience an emotional charge. It’s a plaque, and it's Louise Bourgeouis; I’ve always admired her work."

Read the interview here.

Cedar Pasori
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Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. Jenna Gribbon, April studio, parting glance, 2021. Jenna Gribbon, Silver Tongue, 2019