Access Restricted (poster children for conceptual art),
Light Projects, Melbourne, 2010.


Double-Sided Poster, recto: Thérèse Mastroiacovo, “Discourse as Monument”, 2010, graphite on paper, photographed. (Source: On Discourse as Monument: Institutional Spaces and Feminist Problematics, Drawing Centre, NY, University of Minnesota Press, Minneapolis, London, 2002.) verso: Fiona Macdonald, access restricted (poster children for conceptual art), note to thérèse (redrawing policy: to think we are other than/to policy is to be doubly policed), The Phallus of Rosalind Krauss, dear alex, 2010.
Double-sided digital print, 1555 x 1120 mm. Destroyed 9 May 2010.

Access Restricted addresses the conditions of exhibiting. One work is displayed in the gallery space: Double-Sided Poster (recto: “Discourse as Monument”; verso: access restricted (poster children for conceptual art), note to thérèse (redrawing policy: to think we are other than/to policy is to be doubly policed), The Phallus of Rosalind Krauss, dear alex, 2010). The poster is pasted to the back wall of the gallery space.

The poster is an address to the reception that is predicated in the ARI systems of exhibition and their visible and invisible systems of patronage. As a collaborative work, it appears to privilege the recto image (remediated as it is) to the verso text that is effaced through its exhibition. The printed reproduction of Thérèse Mastroiacovo's drawing that is seen within the vitrine of the gallery space, describes and re-inscribes the space with its own context, ”Discourse as Monument” is the statement of this space of exhibition. It also describes that recourse to the Symbolic that takes place in reception (and in the particular context of Light Projects with its patronage by the psychoanalysts who provide the gallery space), as a place of origins.

The suspension of citation that occurs through the gestures and temporalities of the act of drawing and its remediation is doubly activated as an event of suspension in the pasted paper of the poster. The text as an empirical form of writing is unreadable. Its address to its display and reception remains traceable through its signing within the title of the work and its condition as verso of the image.

The third component of Access Restricted is a correspondence with Alex Martinis Roe, a text that identifes the trace of the political within the project through its attempts to mark the limits of the neutralisation that occurs through reception.

essay: Fiona Macdonald & Alex Martinis Roe, Access Restricted @ Light Projects 2010

Light Projects: >http://fionamacdonald.com.au/index.php?/projects/access-restricted/