Curated by Anca Rujoiu (CCA Curator Exhibitions) and Vera Mey (CCA Curator Residencies), The Disappearance is conceived as a durational event unfolding over two days including a continuous series of manifestations from live performances to film screenings. The project includes works by Cyprien Gaillard, Malak Helmy, Sonya Lacey, Manuel Pelmus, Laure Prouvost, Shubigi Rao, Nigel Rolfe, Marie Shannon, Diego Tonus, Mona Vatamanu and Florin Tudor amongst others. Other contributions to the film programme are curated by Erin Gleeson, Planting Rice and David Teh.

The Disappearance situates itself in the architectural setting of a previous exhibition Paradise Lost. It works with what is left out: the traces of the show in the space; the echoes in our memory. The Disappearance conceals and reveals: what has happened before and what will follow. This is addressed critically and conceptually.

Subject to operations of installation and de-installation the building and dismantling of an exhibition space is constantly edited: it erases one text to inscribe another. The Disappearance acknowledges the inherent changes into an exhibition space and its continuous rewriting. What happens after an exhibition is over?

The aftermath of the exhibition conventionally lives on through catalogues, documentation, reviews and conversations. For such a spatial and discursive practice it is hard to capture exactly what happened, how it was conceived or even how it felt. Perhaps a way to address a critique and continuation of the exhibition is through the medium itself of the exhibition.

The exhibition moment carries the resonance of objects, artworks, texts and contexts. Presence is continually erased and rewritten through a process of overlapping and renewal of new artworks and new exhibitions. The space remains but is reconfigured to suit new moments of encounters to an extent where the space never really stays the same. The aim of institutional standard is to erase the presence of past exhibitions in order to privilege these new experiences.