So my work is currently being shown at The Minories Gallery in Colchester! in an exhibition called ‘conversations’! so exciting. My piece is a unique photograph, of two negatives layered together to create a surreal, almost geometric collage of information.
Much to my tutor and other people’s shock I had never heard of Mike Kelley.. and it wasnt like sometimes you know of an artists work but you aren’t sure of who created it, I have never seen a single piece created by this amazing man! So what a great discovery! We went to see his piece ‘Framed and Frame’ at the Hauser&Wirth Gallery, It was a great piece, I liked how mystic and magical it felt almost? I like getting that feeling, for me the less serious a piece is visually I think the more I enjoy it. Especially if it has a serious concept, I quite like that duo… a fun aesthetic with a darker and subdue meaning. Now I have googled Kelley to the deep depths of googles ends, this is actually one of his pieces I least enjoy, his work involving lights I am in love with, they are beyond beautiful.
For me once I started researching him and saw his other work I found that connection, when I saw his piece ‘Framed and frame’ I wasnt as excited as when I saw his other work. I do love the colours but I’m not sure, I just didn’t have that feeling where you are just smiling and can’t stop looking. There were smaller aspects of it I did enjoy, the colourful religious mini statues, and the mattress underneath. I think it was the concrete as a base material I didn’t enjoy! Conceptually I engaged with his idea, and understood his interests and where this piece derives from completely. I really like the idea of where do the real and imagined meet? what is that space? and can it be visualised! This piece is also extremely historical and political, I like how he has conveyed those thoughts via a magical grotto, cave, wonderland.
Her installations employ visual and linguistic ambiguity in order to explore the potential for misinterpretation and misunderstanding.
Marten’s sculptural installations often serve as repositories for disparate material combinations, resulting in an exhibition that calls into question our changing relationship to the readymade. Underscored by a process of collaged abstraction, her assemblages resonate with associative meaning. Creating a string of hieroglyphs or a kind of archaeological anagram, the work’s encrypted sequences are nevertheless driven by their own internal logic
“I’m really interested in the point at which things become husked down to geometric memories of themselves, where a house, for instance, a pair of legs or a cat could be communicated with huge economy and speed via just a few lines. The vector can become a mechanism of delivery. As incorporated extensions, even a simple nod towards a shape that might be reminiscent of a readymade form is quite literally a vocaliser of external things – an agent of the world outside art-making. And this is the point where you can use recognisable authority, the obstinate fact of a universally existent thing – an arm, a teapot, an alphabet – and extricate it from its own sense of intentionality.”
-http://www.serpentinegalleries.org/exhibitions-events/helen-marten-drunk-brown-house
I really loved this exhibition, I think its the only work I have ever seen where it honestly felt like these were abstract drawings or 2d works brought to life! Such a surreal feeling, if you stood back from afar, and squinted a little then they could easily be a huge 2d print. I think as there were Martens screenprints exhibited with the 3d work, then maybe this is why I was imaginigng it, but it was amazing! I loved it, and that there were 3d objects attatched to the 2d work aswell.. it felt like all barriers of 2d/3d had been crossed and actually it didnt really matter, and I think after reading what Marten says about her own work, this is what she was trying to convey, that its taking that meaning away from objects, and having them in this new alien format with no meaning or a new meaning. I was so taken back.. painted walnuts forever! amazing. Very inspiring.
“Enough Tiranny, conceived in 1972 (the founding year of Artists Space), was a proposal that aimed to bring about new models of collaboration and sociability, attempting to question the alienation between viewer, artist, and institution. Not unlike installations by his contemporaries, such as the Brazilian artist Hélio Oiticica, Chaimowicz’s works require a level of participation on behalf of the audience as well as the institution. In the otherwise monochromatic environment of the early 1970’s, Chaimowicz developed an artistic language that responded to the dogmatism of its time by taking both political and emotional dimensions into account. His work speaks to the basic units by which we trade private desires with social hopes: building the texture of a communal existence. The remembering, the revisiting, and the recalling of works from different periods of Chaimowicz’s life is integral to his way of working.
Enough Tiranny Recalled, 1972 – 2009 demonstrates that “the future will, in all probability, fold itself into the past to better accommodate itself in the present.I was critical of the alienating distance between the work and the viewer, and this is a gap I’ve continued to review.
One thing I wonder about is whether the work still has a degree of radicality. It was shown several years ago in Zurich, where no one had heard of me. It was interesting because art students were asking about this “new young artist.” They presumed youth behind the work, which implies, perhaps, that there is still a critical urgency.
” (Marc Camille Chaimowicz)”- http://artistsspace.org/exhibitions/enough-tiranny-recalled
I’ve read a lot about Chaimowicz’s installation that I saw, and im still not 100% sure I understand what it’s about? I love that it was first made in 1972, when I first saw it, I didn’t know that at all, and I wouldn’t have been able to have ever said its date? It felt quite timeless. Aesthetically I really enjoyed being in this space, the music, colours and lighting was so beautiful and I felt very encapsulated in the moment of this space. installation can be quite a hard space to create, I feel personally. By achieve I mean, create a space which feels like an environment rather than a selection of objects and music in a room. This instillation was amazing, the lights are what made it so inviting, I just felt like I wanted to spend a lot of time in their absorbing it all. Low lighting and fairy lights create this mystic magical feeling, which with music works so well.
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