I have created major large-scale installations in a range of sites and cities from an abandoned theatre in Montreal to a ferry terminal in Manhattan. Most of this work was effected in collaboration with Lyne Lapointe, with whom I lived and worked from 1981 to 1995. Each of our research-intensive, ambitious site projects for carefully chosen, charged architectures also required the design and implementation of entirely new and unique networks of institutional, governmental and funding partners, garnering a wide public whilst addressing complex and pressing social concerns. These projects form part of the history of alternative art and urban activism of the 1980s and 1990s. Some can be found below, and most are documented in the book Studiolo (Artextes Editions 1997), which traces their aesthetic and philosophical underpinnings. I carried forward many of the practices developed for these projects into my more recent projects with the Science Museum (London) and the Medical Museion (Copenhagen).

Site Specific Installations

Split + Splice

Split + Splice: Fragments from the Age of Biomedicine, Exhibition Creative Director, Medical Museion, University of Copenhagen (2008 to 2009)   Creation and production of this Dibner Award winning show about contemporary biomedicine; leading a team of four
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Atomism & Animism

Atomism & Animism, Science Museum, London (1997 to 1999) This museum-wide collection interpretation project was the fruit of my two-year research residency at the Science Museum. The exhibition was created with some 130 objects, disposed in 16 installations
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Studiolo

Studiolo: The Collaborative Work of Martha Fleming and Lyne Lapointe, a major retrospective exhibition and accompanying book (Musée d’art contemporain de Montréal, Artextes Editions and Art Gallery of Windsor, 1997-1998)   Covering all of our large scale site-specific
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The Spirit and The Letter and The Evil Eye

The Spirit and The Letter and The Evil Eye, Bath Festivals Trust ‘WellSpring’ (with Lyne Lapointe, 1994)   Bookbinding, marbled paper, letterforms, the printed word, eye-hand coordination, amulets, craftsmanship, inkhorns and more all came under scrutiny in this site-specific
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Introduction & Index

Introduction & Index, silkscreened translucent banners and artists’ bookwork (1994): Printed Matter (New York); Artexte@MACM (Montreal); Bath Public Library (UK); Ridington Room, University of British Columbia (Vancouver), C Magazine (Toronto)   A meditation on censorship and the power
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The Wilds and The Deep

The Wilds and The Deep, Battery Maritime Ferry Terminal with Creative Time (New York, with Lyne Lapointe, 1990)   At the bottom tip of Manhattan, this large-scale site project explored the origins of museums in colonial practice. Next
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La Donna Delinquenta

La Donna Delinquenta (Montreal, with Lyne Lapointe, 1987)   The abandoned Corona vaudeville theatre was the perfect locus for exploring meeting points between social marginalisation and the society of the spectacle. ‘Technologies of the Self’ met Plato’s Cave
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Le Musée des Sciences

Le Musée des Sciences (Montréal, with Lyne Lapointe, 1984)   This major site-specific installation — a ‘history of the body’ before its time — took place over the entirety of an abandoned beaux arts Post Office Building at
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Projet Building / Caserne #14

Projet Building / Caserne #14, for the abandoned Fire Station 14 (Montreal, with Lyne Lapointe, 1983) The first of our ‘Montreal triptych’ of site-specific projects occupying entire buildings in the 1980s, Projet Building / Caserne #14 took place
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© Martha Fleming : arts | sciences | humanities : interdisciplines