For the past ten years, Goldin+Senneby has used methods and tools inspired by the financial sector to illuminate and subvert our late-capitalist system. The IMA is pleased to present the second iteration of their mutating retrospective, Standard Length of a Miracle, which premiered at Tensta konsthall, Stockholm, last year. Responding to the challenge of mounting a retrospective in Australia and at the same time resisting the urge to pack up the physical traces of all past projects and ship them around the world, the artists present bootlegs and replicas of their major works.

For the Brisbane iteration Goldin+Senneby invited Camila Marambio and Amaara Raheem to act as interlocutors. Marambio & Raheem responded with Quiz which led to Result which led to the conception of Meth(odology) Lab. During the first week of the exhibition Meth(odology) Lab was open making Time: an immersive set of procedures that distill and digest through lines of Goldin+Senneby’s practice.

In the main room, a plot of land acquired by Goldin+Senneby is interpreted as a stage set by artist Ryan Presley. Headless will also be activated by long-time spokesperson for Goldin+Senneby, Angus Cameron, in conversation with Mary Graham. The exhibition will conclude with a magic demonstration, Acid Money, performed by Malin Nilsson.

Goldin+Senneby is a framework for collaboration set up by artists Simon Goldin and Jakob Senneby, exploring juridical, financial, and spatial constructs through notions of the performative and the virtual. Recent solo exhibitions include Standard Length of a Miracle, Tensta konsthall, Stockholm (2016); M&A, Artspace NZ, Auckland (2013); I dispense, divide, assign, keep, hold, NAK, Aachen (2012); The Decapitation of Money, Kadist, Paris (2010); Headless. From the public record, Index, Stockholm (2009); Goldin+Senneby: Headless, The Power Plant, Toronto (2008). Group exhibitions include Manipulate the World, Moderna museet, Stockholm (2017); Greater Together, ACCA, Melbourne (2017); The Eighth Climate, 11th Gwangju Biennial (2016); Mom, am I barbarian?, 13th Istanbul Biennial (2013); Art Turning Left, Tate Liverpool (2013); The Deep of the Modern, Manifesta 9, Genk (2012).

Goldin+Senneby’s exhibition at the IMA is supported by Iaspis – the Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists.