Advertisements
Tag Archives: London

A Comparative Study in Space and Sound

5 May

What is perhaps most interesting about Ruth Proctor and João Ferro Martins‘ show at The Mews Project Space is the way their work is so similar yet has subtle differences when neither had met until they hung the exhibition.

João Ferro Martins & Ruth Proctor From L to L and Back Again

Following a set of outline instructions for sculpture combining found or ready-made materials, striking similarities occur in the choice of orientation of objects whilst differences appear in the choice of object design; straight edges versus curves, material, dimensions, volume, weight, colour, etc., which combine to give Martins work an austere, solid and workerly feel, whereas Proctor’s has a sunnier, more vibrant and perhaps feminine outlook.  With a bass ‘E’ guitar string stretched across each chair as if to create a rudimentary instrument, a vinyl record is similarly placed behind the back of the chair so about 60% visible from the front, but one is an album and other incorporates a single.  Meanwhile, at the Barbican, Laurie Anderson is pictured playing her musical invention/sculpture, the Viophonograph, with a record mounted upon a violin body and a pickup in the bow.

Laurie Anderson Viophonograph, 1976 Black-and-white photograph Photograph: Bob Bielecki Courtesy the artist and Sean Kelly Gallery, New York. © Laurie Anderson

Perhaps it might also be relevant to mention Christian Marclay’s Recycled Records (1980-86), at this point, as another example of an artist using this sonic yet visual form, combining cut records to create a new sound.  Meanwhile Martins’ further experiments with record media include Cymbal Scratching (2010), which seems to be the inverse of Anderson’s work in that a traditional instrument is being played by a twentieth century one, whereas Anderson plays the record with the violin bow.

Cymbal Scratching (2010) by João Ferro Martins. Turntable, amplifier, pre amplifier, two speakers, cymbal. Dimensions variable. Sound reproduction of the texture of the cymbal.

Continue reading

Advertisements

The Gallery as a Dance Hall

27 Apr

It has been a while since the last article, however this is due to a lack of cohesion within the contemporary art world recently, but now a clear trend has appeared for visual artists making works that transform the gallery space into a site for dance and performance.  With Arts Council England redistributing funding from its new National Portfolio in favour of dance, and programmes such as Strictly Come Dancing and So You Think You Can Dance? gracing our television screens, it is likely that interest in dance is growing, and hence galleries are making curatorial decisions in favour of this kind of cross-genre art form.

It is not new for artists to engage in set design with a president set by Piet Mondrian, who designed a set for Michel Seuphor‘s L ‘Ephémère est éternel, and Liubov Popova (who was exhibited with Alexander Rodchenko at Tate Modern in 2009).

What is perhaps different is that many of these contemporary artists (and similarly video artists such as Nathaniel Mellors, showing at the ICA) are controlling the whole experience in the fashion of Richard Wagner.  In German there is the word Gesamtkunstwerk that describes this all-encompassing art form.  However it is likely many of these contemporary artists are working on a much smaller budget.

Continue reading

All That Glitters Isn’t Necessarily Gold

9 Mar

Hew Locke: Starchitect. Image courtesy of the artist, ArtSway and Hales Gallery, London.

Hew Locke‘s exhibition at ArtSway consists of works made of a variety of gold and silver plastic from pound shops, the most striking of which form shields with crossed swords behind, like would belong in a mediaeval castle.  Additionally plastic pearl necklaces have been used to draw royal crests on plain white fabric squares that hang like Royal Standards, which could be attached to trumpets heralding the forthcoming royal wedding.  Locke’s work is contained in a structure something like a bedouin tent constructed inside the gallery from sheets of plywood.  Each of these is pierced by numerous large star shapes through which the gallery lighting plus some additional lights shine through, creating something closer to a planetarium.

Continue reading

Constructing Photography Now

14 Feb

Chu YinHua‘s slides on exhibition at The Mews Project Space provide an interesting critique of the built environment and the way the artist feels nomadic, without a home base, which is perhaps in essence critical of a negative impact upon artists caused by immigration laws.  Presented on a small-scale in a row of slide viewers, it is difficult to gage reality.  We see out of windows from a series of rooms with a very retro style of wallpaper, 1950s perhaps.

It is only by creating a miniature room which she can carry around with her, that Chu is able to feel at home anywhere.  In essence this is alike the boxes Georgian servants had as their only private space (mentioned by Amanda Vickers in BBC series At Home with the Georgians).

Whilst the rooms in Chu’s work are miniature, the views are real and include Nelson’s Column in Trafalgar Square and locations around South London in which Chu feels she would be happy to live.  They too are mediated however, through being images on a laptop screen behind the model, some at least extracted from Google Street View.  Such mediation allows us to now digitally travel to anywhere of our choosing simply at the click of a mouse.  Hence Chu chooses to make her home a virtual place.  She could have a party on social networking and chat room websites and even offer someone a slice of cake and a cup of tea.  The freedoms of consuming digital travel, however, might be said to lead us to exist in a box and never leave it.  Well, we can work from home, order in groceries and takeaway, or even go for a stroll around one of the world’s major art museums with the latest Google project.

Pair IV (2007) by John Stezaker, Collage, Private Collection, © The Artist

Nearby at the Whitechapel Gallery a retrospective of John Stezaker‘s work demonstrates a similar yet different kind of photographic construction.  Where Chu constructs the subject scene of her images, Stezaker constructs his images by physically collaging prints of found images, film stills and landscape postcards to create humourous and provocative works.

Continue reading

Drawing in space

5 Feb

Bridget Riley‘s Composition with Circles 7 (2010), installed at the National Gallery, London, makes use of circles in a similar manner to Susan Hiller‘s Magic Lantern discussed in my previous article ‘Curated to Confuse?‘.  Riley and her assistants have drawn a series of meticulously accurate, large, monochromatic circles across the entirety of a vast gallery wall.  Like Hiller’s projection, they build up layers, overlapping and forming a series of Venn diagrams.  However, where Hiller explores colour, Riley explores ways of tesselating the circles, creating a vast array of different size and shape sections of overlap and space, whilst maintaining a fairly ordered overall plane.

Adrian Searle furthers the link between the two by saying this work of Riley’s “… seems to envelop you as if one were consumed by bubbles of light.” (http://www.guardian.co.uk/artanddesign/video/2010/dec/15/bridget-riley-national-gallery-wall-circles).  However this work feels much more rigid and defined than flowing light.

This is an installation of drawing which looms over the viewer, affecting our perception of space.  It also physically alters the gallery walls in a museum that, due to its collection, usually retains works within a frame.  Hence it is an intervention in the space, much like Doris Salcedo‘s Shibboleth (2007), a crack in the floor of Tate Modern‘s Turbine Hall.

Besides this piece, it is a small exhibition and predominantly represent’s Riley’s current work, not necessarily her most interesting.  On the other hand it is interesting to see how her modern abstract style has been inspired by some more traditional sources.  A couple of Riley’s older Op Art style works are included, and these create the optical illusion of three dimensionality.  The exhibition Common Logic at IMT Gallery, however, exhibits a series of experiments which take drawing literally into three-dimensional space.

Continue reading

Curated to Confuse?

24 Jan

Simon Starling’s exhibition at Camden Arts Centre is one of a curatorial nature, yet is diverse and unpredictable.  The theme behind the exhibition is to bring together work exhibited over the gallery’s thirty year history.  Modernist chairs sit on plinths alongside a Francis Bacon and Graham Gussin’s Fall (7200–1) (1998), which combines a computer randomly generating a continual stream of zeros it appears that apparently affect the footage of a waterside location projected opposite.  In the next room Jacques Monory’s 1973 painting of a picnic labeled as including Christian Boltanski and himself taken from a 1970 photograph.  Opposite this is Christian Boltanski‘s 1971 photograph Essai de Reconstitution d’un tableau de Jacques Monory, a photograph recreating the gathering depicted in the original image.

An exhibition of Susan Hiller‘s work opens shortly at Tate Britain but her 1987 slide projection entitled Magic Lantern is currently on display within this exhibition at Camden Arts Centre.  Not being a familiar artist, however, it appears Hiller has worked in many media and I await the forthcoming exhibition to gain more insight into her practice.  Magic Lantern, is a little slow showing just 12 slides from each of the three slide projects over a 13 minute show.  However the slides are combined with an audio track based on the sound experiments of a Dr Raudive.  This is a mixture of relaxing female voices chanting, as might perhaps be heard in a mosque, with messages with background noise that sound like old wireless recordings, which builds with the slide projection to create a trance like or hypnotic sensation.

The slides themselves are very simple, each one contains a circle of pure colour, almost entirely the three primary colours.  However Hiller’s combination of these creates a multicoloured light show.  The three coloured circles are blended into one another in a kind of Venn diagram, faded in at constantly varying levels of intensity, hence blending coloured light like blending hues of pigment.  In essence you could relate it to the scientific experiments with light; A level physics experiments with lasers and diffraction gratings spring to mind although that isn’t what this is.  Dust and hairs collecting on the slides add to the work, giving it grain and texture that appears to protrude from the projection wall and further draw you into the hypnotic depth of the colour.

Continue reading

New Contemporaries

16 Jan

Bloomberg New Contemporaries 2010, at the ICA this year, is a large group exhibition of new art talent; recent graduates.  Hence it is a pretty diverse exhibition and hence feels much like an art school show.  The layout of the ICA galleries furthers this feel of fitting into particular spaces within an institution.  There are however some interesting pieces in the exhibition which suggest a discourse of emptiness, of something lacking perhaps, whilst on the other hand being an exploration of contrasting textures. 

Nick Bailey’s Safe seems rather dumb, a mute casket to which we are not provided access.  We might wonder what could be inside it, but particularly when seen alongside Dials Slightly to the Right, it seems the form itself is the focus of this work; a solid, black box protruding from the wall.  Perhaps it brings Kasimir Malevich‘s studies into a three dimensional form.

Matthew Coombes’ Site Receiver: Untitiled (2009) makes clever use of simple materials; smooth hardboard cut at asymmetric angles contrasted with the texture of anti-climb paint.  This creates a void in the wall somewhat like an Anish Kapoor piece exhibited in the last British Art Show at the Hayward Gallery.  It also seems like it would absorb sound like an open mouth, either rendering it dead or perhaps creating absurd refracted echos, whilst the walls of the nearby screening rooms have been hung with things that look like box canvases to absorb sound that could be similar works.

Continue reading

Gauguin, etc.

9 Jan



I finally visited the Gauguin exhibition at Tate Modern this evening after having walked away three times seeing how packed it was in there.  On one day they were open late, it was sold out until 7pm by 3pm.  It’s probably attracting potentially twice as many people as the whole of the rest of the gallery.  There might have been 500 or more visitors merely during this evening.

If you are still planning to go, don’t expect too many major works.  This exhibition is more like a biography than a retrospective, following the life of the man and his travels.  Many of the exhibits are preparatory works, sketches, prints, and further sections looking at publications and photographs which give a background view to Gauguin’s life and subject matters. 

Continue reading

%d bloggers like this: