Daniel Olson

RETOUR D’IVOIRE
03.02–04.08.2000

Since his early days, Daniel Olson has explored various media, giving his work a multidisciplinary character. Most often, his installations incorporate audio and video elements, or they may take the form of interactive objects during performances in which the audience is also invited to participate. His critical stance is rooted in playfulness and humor. Far be it from him to think that it would be a great loss to the world if he were to stop making art, but for him, it is a way to stay sane and healthy. On that note, don’t miss the artist’s performance at the opening.

*Retour d’ivoire* refers to the title of an unpublished project proposed by Duchamp during a Surrealist meeting. Behind this title lies the following pun: “re:tour d’ivoire/retour d’y voir.” Since this title was not retained in history, the artist reappropriates it here, as it implies both the act of physically seeing—with connotations that, at least in the past, pertained to the context—and the social status of the intellectual in society.

*Retour d’ivoire* follows an exhibition held at the Struts Gallery in New Brunswick (1998) titled *Enquête privée*. In fact, it is a new version that recreates the office along with all the trappings of a private detective. This reinstallation is characteristic of Olson’s artistic approach, as he is particularly interested in reworking, recreating, and regrouping elements that have already been used—since, for him, ideas have many lives. They must be reworked. His approach to experimentation stems from an interest in retracing the work of others, following in their footsteps—or, as he so aptly puts it, “walking in a dead man’s shoes.”

Sonia Pelletier