Little Theatres of the Inanimate

Coming to grips with theatricality, a problematic throughout Wilson-Pajic’s career and an aspect of the installation that might be inherent. Deliberately dramatizing the presentation of a work in order to separate it from the rest of the world. Could be as simple as adding a light or as elaborate as making the entire exhibition space into a single dramatic presentation.

Dramatizing as a way of spotlighting an otherwise-ignored act, phenomena, object or person.

Keywords: art, avant-garde, contemporary art, performance art, performance, anti-performance, installation, sculpture, object, text, sound, video, sound installation, text installation, photography, photo-text, photogram, feminism, feminist art, theatre, film, still life Nancy Wilson Kitchel, recording, site-specific, environment, art context


Memory Figures 1974

Installation composed of 80 black and white slides of out of focus personages accom-panied by a hand-written text on forgetting.

First presented on a table in the solo show at 112 Greene Street in 1974. Later realized in the form of a specially conceived pedestal that houses the projector, with a lamp and the text written in white on black, for presen-tation in the retrospective at the Musée Cantini, Marseille and many others.


Intermediaries 1972-74

A single installation composed of individual pieces woven together into a very long and complex fiction, drawn from case histories, phenomenological psychology studies, sociology, newspaper reports and stories told by others, presented as the fragmentary investigation of an unspecified crime committed by an unidentified person.

The piece was presented in part at the Franklin Furnace Archives in New York and, in its final form, at the Galleriaforma in Genoa in 1974, and included recorded text, projections, installed objects and “scenarios” composed of images, objects and texts.


Clues projected into a moving background composed of images of the folds of a red bathrobe.


A series of arrangements of objects evoking mysterious or violent events.

Les Paliers (Stages) 2000

Installation produced on commission for the model town of Sénart south of Paris. 4 stages consisting of texts and objects.


Installation consisting of a table and chair covered with white sheets, upon which is projected a moving background of burnt objects and ashes. Another projector drops in questions and hands presenting significant objects.


Installation consisting of a pile of chairs, stools and a ladder, with printed questions from Phoenix and

a projection of the film Road Movie.


Installation composed of a ladder 7 meters high, a wooden trunk, a cloud of green plastic and 5 charts of star positions, with a recorded text on transcendence.


Installation consisting of shutters from a chateau, a plant stand with mistletoe, a chair, a puddle of metal and a recorded text with fragments of stories.

Mid-career Retrospective at the Centre d’Art contemporain and the Musée d’Art of the town of Aurillac 1992

Conceived as a single installation presenting works from 1967 to 1992.

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Scenario for my own death

Installation composed of objects, images and texts, on a table and on the wall, outlining the work of an investigator who progres-sively suspects him/herself of being the author of the crime.

La Guerre Saint (Holy War) 1997

Installation consisting of a transparent green plastic cloud suspended about 70 centimeters from the floor, under which are scattered 100 votive candles, and the sound of stuttering and repeating Orthodox Christian liturgical chants. The batteries of the cassette recorder ran down about the same time as the candles went out, leaving the space black and silent. Presented at the Warehouse in Ferrières-en-Brie.

Illusion 1976

Text installation in the M.L. D’Arc Gallery, New York.

One of the first word-processing machines, loaned for the occasion by Olivetti, continuously printed out a long, elliptical criticism of the art world, accusing artists, spectators and galleries of collusion in using political phraseology to create an elitist in-group slang, to the detriment of art’s capacity to act on the world.

Audio (excerpts)