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A HANDFUL OF DUST by David Campany [SECOND EDITION]
イギリス人のキュレーター、ライター、そしてアーティストでもあるデヴィッド・カンパニー（David Campany）が、2015年にパリの現代写真センター「LE BAL」の5周年記念展としてキュレーションした展覧会「a Handful of Dust - from the Cosmic to the Domestic」の為にLE BALとMACKが共同発行した図録。本展覧会企画に当たり、作者が着想を得たのは、1922年にマルセル・デュシャンの作品「大ガラス」に積もった埃をマン・レイが撮影し、後に「埃の培養」と名付けられた作品。その写真は抽象的であり、写実的であると共 に、アートワークでありドキュメンタリーでもあった。通常、衛生的理由や産業的理由からもその存在が排除の対象となってきた「埃」がモチーフとなっている写真・ビデオ作品を新旧の著名作家及び匿名の新聞掲載写真、ポストカード、雑誌の切り抜きなどから幅広く集め、まとめられている。
主な作品収録作家：マン・レイ（Man Ray）, ジョン・ディボラ（John Divola）, モナ・クーン（Mona Kuhn）, ゲルハルト・リヒター（Gerhard Richter）, ニック・ワプリントン（Nick Waplington）, ジェフ・ウォール（Jeff Wall）など
a Handful of Dust is David Campany’s speculative history of the last century, and a visual journey through some of its unlikeliest imagery. Let’s suppose the modern era begins in October of 1922. A little French avant-garde journal publishes a photograph of a sheet of glass covered in dust. The photographer is Man Ray, the glass is by Marcel Duchamp. At first they called it a view from an aeroplane. Then they called it Dust Breeding. It’s abstract, it’s realist. It’s an artwork, it’s a document. It’s revolting and compelling. Cameras must be kept away from dust but they find it highly photogenic. At the same time, a little English journal publishes TS Eliot’s poem The Waste Land. “I will show you fear in a handful of dust.” And what if dust is really the key to the intervening years? Why do we dislike it? Is it cosmic? We are stardust, after all. Is it domestic? Inevitable and unruly, dust is the enemy of the modern order, its repressed other, its nemesis. But it has a story to tell from the other side.
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