TIME PEOPLE MONEY CRICKETS is LA based artist Mungo Thomson’s first monograph. The book was published in 2013 by the Contemporary Art Gallery and SITE Santa FE and accompanies the exhibitions at SITE Santa Fe, February 23 – May 19, 2013 and at the Contemporary Art Gallery, July 10 – August 30, 2015. 

Mungo Thomson works conceptually in various media, such as video, film, sculpture and printed matter, he addresses the voids that exist within culture, the gaps, digressions and mistakes that exist and surround institutional space and everyday life.

TIME PEOPLE MONEY CRICKETS provides an insight into Mungo Thomson’s work produced during the past several years. The book illustrates various projects such as Thomson’s ongoing project from 2009, TIME, a series of drawings based on the evolution of the logo of Time Magazine and a series of large mirrors based on specific covers of the magazine. Another ongoing project is PEOPLE, Thomson produced a full-glossy magazine based on People Magazine that contains images of visitors looking at art in art exhibitions but with the art removed through Photoshop, these magazines are free takeaways during the exhibition. Lastly, CRICKETS is Thomson’s collaboration with composer Michael Webster and consists of a transcription of field recordings of crickets from around the world created into a musical score for a 17-person orchestra.

The publication contains an introduction by Irene Hofmann, Phillips Director and Chief Curator at SITE Santa FE, an interview with the artist and Nigel Prince, Executive Director at the Contemporary Art Gallery, Vancouver and an essay by Martin Herbert. 



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TIME PEOPLE MONEY CRICKETS

Mungo Thomson

As part of our contribution to Capture, Vancouver’s first annual city-wide photography festival, we present a new installation by American artist Mungo Thomson. Central to Thomson’s artistic proposition is that of context — be it institutional, cultural or that of everyday life — and it is through the breadth of his individual works that we are prompted to grasp the many challenges to our perception in the things we encounter daily. For Thomson is interested in the space between things, the subtext or background that consistently draws our attention. He has made works which record notional “silence” — the sound of a room when no one is in it, the applause between songs on every live recording by Bob Dylan — produced works in a range of media based on TIME magazine, and made interventions into spaces which causing us to re-evaluate our expectations, such as *Coat Check Chimes*, his contribution to the 2008 Whitney Biennial Exhibition, where Thomson replaced the 1,200 coat hangers in the Whitney Museum’s coat check with custom-made, musically tuned coat hangers that were modeled on orchestral triangles.


When we look at the stars we are actually bathed in the light of the past, and for Thomson this is another way to think about the history while simultaneously considering the “contemporary” — that which constitutes our present is a set of signals between which there are gaps. *Negative Space* is an ongoing series of photographic murals of inverted astronomical imagery sourced from the Hubble Space Telescope. Thomson works with the Hubble archive in an ongoing way, generating a negative image every time the Hubble generates a positive one. Through a simple command in Photoshop, blacks become whites, whites become blacks, and all other colors are transformed into their complement. These images are then made into site-specific photographic murals for empty walls and installed like wallpaper, indoors and out, temporary and permanent. The project also includes an artist book, an original font, and a screensaver.

Work at Yaletown-Roundhouse Station is presented in partnership with Capture and the Canada Line Public Art Program – InTransit BC.

### Biography 

Mungo Thomson lives and works in Los Angeles. Solo exhibitions and projects include SITE Santa Fe (2013); Times Museum, Guangzhou, China (2013); Aspen Art Museum (2012); Hammer Museum, Los Angeles (2008); Kadist Art Foundation, Paris (2007); and Galleria d’Arte Moderna e Contemporanea (GAMeC), Bergamo, Italy (2006), among others. His work has been included in group exhibitions such as The Pacific Standard Time Public Art and Performance Festival (2012); the 12th Istanbul Biennial (2011); Kunsthalle Düsseldorf (2009); the 2008 Whitney Biennial; and Performa, New York (2005). Thomson’s work is held in the collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Los Angeles; the Hirshhorn Museum and Sculpture Garden, Washington, DC; and the Walker Art Center, Minneapolis, among others. Thomson is represented by Galerie Frank Elbaz, Paris.

ProgramGuideWelling+Ringborg2013.pdf

A photographic mural in vinyl is installed on the windows of Yaletown-Roundhouse Station. Black dots scatter across a semi-translucent background of softly focussed yellows, blues and greens. 

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A photographic mural in vinyl is installed on the windows of Yaletown-Roundhouse Station. Black dots scatter across a semi-translucent background of softly focussed yellows, blues and greens.

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A photographic mural in vinyl is installed on the windows of Yaletown-Roundhouse Station. Black dots and star-forms scatter across a semi-translucent background of softly focussed yellows, blues and greens.

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Negative Space

The Contemporary Art Gallery presents a major solo exhibition by Los Angeles based artist Mungo Thomson. *Time, People, Money, Crickets* brings together a survey of work produced during the past five years, complemented by an extensive monographic publication. Combined, exhibition and publication provide an expansive opportunity to tease out the nuance and complexity of Thomson’s practice across his many media and forms.

Central to Thomson’s artistic proposition is an embrace of context — be it situational, institutional, mass cultural or art historical — and it is through the intelligent breadth of his individual works that we are prompted to examine the perceptual mechanics of everyday life in relation to a wider historical and cosmic scale. The exhibition includes key works in film, sound, sculpture, performance, and publication that approach perception and cultural mediation with economy and wit, often relying on existing forms of recognition and distribution.

The exhibition features several large-scale mirror works from Thomson’s ongoing series *TIME*: person-sized, silkscreened mirrors bearing the iconic logo and red border of the international weekly news magazine. The mirrors are based on individual covers of the magazine that reference a variety of cultural and cosmological notions of time and history, forming a broad cumulative network of objects. Installed together, they form infinity spaces and kinesthetic configurations in which the viewer, the viewing context and other *TIME* mirrors are reflected and reversed endlessly, and the viewer finds themselves pictured within that network.

Such associations are further elaborated by a new iteration of Thomson’s ongoing series *Negative Space*, photographic murals of inverted astronomical imagery sourced from the Hubble Space Telescope, here specially designed for the glass canopy that defines the entrance and exterior of the gallery.

Thomson’s *Crickets* (2012-13) is an ambitious musical score for orchestra based on the chirping of crickets. Transcribed from a French compilation of field recordings from around the world — France, Cameroon, Senegal, Martinique, Borneo, Thailand and Venezuela — and produced in collaboration with Los Angeles composer Michael Webster, the score contains twenty five movements, such as *12. Reunion Island, the Cirque de Cilaos at 1300 m. altitude, February 1998, nightfall in a banana plantation*. Seen in an HD video, and shown alongside the sheet music, a seventeen-player classical ensemble simulates a chorus of crickets in flute, clarinet, violin, and percussion. *Crickets* explores the distinctions between silence, sound, noise and music, using the aural backdrop that crickets represent — so ubiquitous that they have come to stand in for silence, and, in the context of performance, failure. Thomson and Webster have also developed *Crickets* for solo performers — individual musicians scattered around a park, each simulating the sound of a single cricket with a different instrument. Working with Vancouver New Music, CAG will present a live performance of *Cricket Solos for Clarinet, Piccolo, Percussion, and Violin* in Emery Barnes Park.

Other works in the exhibition play with the context of the gallery or museum itself. *Mail* (2013) is the simplest intervention into the CAG’s everyday infrastructure. For the duration of the exhibition, once delivered, the mail remains on the floor, unopened, gradually becoming an obstacle to physical passage as well as to institutional function. *Untitled (Margo Leavin Gallery, 1970– )* (2009) is a Super-16mm stop-motion film animation that flips through all the contacts in the business card rolodexes of Los Angeles’ Margo Leavin Gallery, which was founded in 1970 and closed in 2012, and where Thomson showed for over a decade. Consisting of thousands of contacts, each with their own particular relationship to the operation of the gallery — artists, framers, electricians, collectors, customs agents, florists, critics, exterminators — each card gets a single film frame, the film running at twenty four frames per second. It is a kinetic portrait, pairing analogue technologies, of a group of people randomly and uniquely brought into orbit together around a single cultural enterprise.

*People* (2011) is an ongoing series of photographs of visitors to art exhibitions with the art on view removed in Photoshop, leaving only people staring into the voids of empty white rooms. These images are taken from the web as well as privately commissioned by Thomson from professional events photographers. In 2011 Thomson produced a magazine collecting these uncanny images modeled on the American tabloid “People.” Originally distributed unannounced by mail, it is exhibited here as a free takeaway for visitors.

*Void and Observer* (2013-15) is a series of sculptures modeled on the phenomena of “error coins” — rare and collectible coins that result from a production mistake at the US mint, in which a blank coin planchet is mis-struck by the die that carries the coin image. In Thomson’s reworking of the phenomenon, made with 3D printing and jewelry casting, these coins take on a cosmological dimension, as an off-center John F. Kennedy appears to be contemplating the void of the unstruck side of a half-dollar, and as other error coins in other US denominations resemble planetary bodies in phase or eclipse. Kept in the pockets of the staff of the CAG and displayed upon request, the coins will orbit and revolve around each other throughout the day.

*Time, People, Money, Crickets* is organized by the Contemporary Art Gallery, Vancouver and SITE Santa Fe. 

### Biography

Mungo Thomson lives and works in Los Angeles. Solo exhibitions, performances and projects have taken place at ArtPace, San Antonio (2014); SITE Santa Fe (2013); The Times Museum, Guangzhou, China (2013); The Aspen Art Museum, Aspen (2012); The Hammer Museum, Los Angeles (2008); The Kadist Art Foundation, Paris (2007); and Galeria d’Arte Moderna e Contemporanea (GAMeC), Bergamo, Italy (2006), among others. Selected group exhibitions include *The 2nd CAFAM Biennale*, CAFA Art Museum, Beijing (2014); *A Guest Without A Host Is A Ghost*, Beirut and Townhouse Gallery, Cairo, Egypt; *Imitatio Christie’s*, Galleria Zero, Milan (2014); *Turn off the Sun: Selections from La Colección Jumex*, Arizona State University Art Museum, Tempe, AZ (2013); *Public Diary*, Tokyo Metropolitan Museum of Photography (2013); The Pacific Standard Time Public Art and Performance Festival, Los Angeles (2012); *Untitled (12th Istanbul Biennial)* (2011); *Exhibition Exhibition*, Castello di Rivoli, Torino, Italy (2010); *Compilation IV*, Kunsthalle Düsseldorf (2009); The 2008 Whitney Biennial (2008); and *PERFORMA05* (2005). Thomson’s work is held in the collections of the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Los Angeles; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Walker Art Center, Minneapolis; and FRAC Ile-de-France, Paris, France, among others. Thomson is represented by Galerie Frank Elbaz, Paris, France.



ProgramGuideMungoThomson2015.pdf

A video still depicts musicians in black dress clothes playing instruments in an orchestra, a conductor stands in the centre facing away from the camera. White subtitles line the bottom of the frame.

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In the glass overhang above CAG’s entrance, four rectangular white panels are installed. Small stars and galaxies in blue, orange, and grey dot the panels. 

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Large-scale mirror works are installed on a gallery wall. Visible through one mirror are two others on opposite walls. All bear the logo and red border of TIME, the weekly news magazine.

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Seven white cardboard boxes are grouped on a gallery floor. The boxes are open and filled with the publications for the exhibition. The cover of the books are visible.

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A pair of large-scale mirrors are installed on white gallery walls. They bear the logo and red border of TIME Magazine. Five white cardboard boxes are grouped on the floor. 

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A black projector is installed in a low alcove, projecting an image on the white wall. The image depicts a rolodex of cards. One of the cards reads: THE SAINT LOUIS ART MUSEUM. 

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Overhead view of mailed packages piled on a gallery floor below a mail slot. Approximately two dozen packages and letters of various sizes make up the pile. 

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A single-channel video is projected on a screen in a darkened gallery. The video depicts musicians in black dress clothes playing instruments in an orchestra. 

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A single-channel video is projected on a screen in a darkened gallery. It depicts hands holding a cabasa instrument.

Mungo Thomson

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