Clearing – Harbourfront Gallery – Exhibition Review

By Sophia Gambitsis

Interactive Installation – Publication website

Harbourfront Gallery

Toronto, ON /// 2008

September 27, 2008 – January 4, 2009

Project Team: Lateral Office

Mason White, Lola Sheppard, Joseph Yau

Photographs: Peter Legris

For more than 40 years, Harbourfront Centre has believed to have been both current and creative, bringing together the best in Canadian culture and various other cultures world wide.

Harbourfront Centre is an innovative, non-profit cultural organisation. Whilst I did not see this in-person, the information on the show was very detailed and successful as I felt well informed on the Later office web page .  Documenting an interactive normally has some pictures and a summary, but this one had diagrams of the artists interaction and how people interacted. This created a parallel between knowing and the unknown.

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The project was to highlight the unseen parts of personal space. This meant people would take some round disks to hold the hair like wire. Clearing is a commission for a room-sized interactive space that invites visitors to investigate the politics of personal space.

This is an interesting work which plays with human interactions such as making way for people. It looks like a very fun work that I would want to play in because it’s inviting and open. The images online showed an empty work and a filled one.  The contrast of an interactive work with and without participants was a successful way of photographing the project. After seeing this way of documentation and the diagram, I wish i photographed my installations better as I always a did an untouched installation photograph.  While the information was good on this project it could have had a better understanding of the work if video was used as well, since the movement of people on a time lapse would have been very interesting, as the space would change and dance in a way.

http://lateraloffice.com/CLEARING-2008

Bohyun Yoon: To Reverse Yourself – Artwork Review

By Jesse Bowling

Yoons work “To Reverse Yourself”, is a mirrored work with a whole cut ¾ up the mirror for a participator to place their face.  This work is made from a freestanding wooden frame with a mirror placed on one façade.  This work is in reference to Giuseppe Penone’s work “To Reverse One’s Eyes”.

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In a small write-up by Yoon on this work on his website he explains how he is interested in the relationship of self to others. This work starts to reflect a hybrid image that combines one, the viewer and two, the participator; the participators face is placed on the viewer’s body. This work is dependent on the interaction of two people, so that the full optical engagement can be realized. Yoon seeks to reverse the viewer’s perspective of one self and how this engages with the “other” or how one can see your self but the defining part of your identity is removed and replaced with someone else’s face.

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Yoon also states “…my work speaks about illusional experience as a whole”. I find this statement quiet shallow, I do not feel that it’s an “illusion” it’s far more literal than a normal mirror. This work breaks the illusional aspects of the mirrors representation of reality and questions the Foucauldian notions I explained in my previous review of Anish Kapoor’s work.  As one is “over there” but not complete, the face of the participator is present physically, and replaces your reflection with a “real” face that is not your own.

Over all this is an interesting work when the representation of self is concerned and links to my thinking around my practice of the representation of self through a digital medium.

This can also been seen as another interesting selfie opportunity as there are apps that replace the face of you with another, with this object you can do it with out the use of a digital tool, and have a great photo with your BFF.

Yoshimasa Tsutsumi: Digit Diesel Shibuya Store Installation – 2013 – Artwork Review

By Sophia Gambitsis

Storage in a house or studio is a big problem for me as someone who regularly has the choice of either a room the size of a shoe-box or a shared studio in the city. Small rooms provoking a need for storage and functionality are key in my method of thinking around small space. This work caught my eye as a fun and amazing idea for making storage in the walls with the novelty nail mould toy reference.

The work he created was made for the displaying of an interior product, but the design of the wall was creative and more interesting than the products. In my opinion, this would be a drawback from a sales perspective, however it succeeds in originality of wall display and people would definitely remember this more than a boring flat wall.

I read that Yoshimasa was bored with the constraints of the display wall, so he decided to investigate the fourth wall as in burying the product in it. Working on the installation at Diesel Art Gallery in Shibuya, Japan, Tsutsumi stacked 10,000 square paper pipes like moveable drawers to form the support structure, into which he inserted all manner of furniture. Generally speaking, shop displays usually work in three broad ways; Put your stuff on the floor, stick it to the wall, or hang it from the ceiling.

‘Diesel living’ is created around rock ’n’ roll and the casual living concept. So this display wall and the furniture presented within was a creative way of advertising the brand’s trademark style.

I would like to create a 4-wall inside my furniture or with the floor to create a sinking and mold effect with relaxing into a space. As much as I enjoy the look of the pipes I don’t think that they would be comfortable. I believe a bean bag could imitate a sinking effect as well.

Interrogation by Ignas Kruglevicius – Exhibition Review

by Jessica Ziegler

Ignas Krunglevicius, Interrogation, 2009

Te Tuhi Gallery

7th March 2015 – 12th July 2015

I was entering into uncertainty as I parted the heavy grey fabric covering the doorway and passed into a dimly lit corridor. I must say I dubious to go further. What was I getting myself into? And why was I doing this alone? The description on the wall outside outlined “a dual channel video installation that delves into the psychology of a police interrogation through an abstract assault of sound, text and colour”, which in hindsight explained my initial reaction. The tall dark walls of the lengthy corridor towered over me but my eyes soon began to adjust to the darkness I had been plunged into. I could faintly make out multiple large dark rectangles protruding slightly from the walls all around me. I assumed they were speakers from the low hum and subtle vibration I was feeling. I can’t remember being able to see the end of the corridor, but I walked forward anyway. The further I walked, the louder the noise got. I could hear a large low drumming noise accompanied by a faster, higher-pitched, repeating tone. A single turn to my right and I was inundated with questions that assumed guilt. It was all black except for the bold white letters appearing on a false, V-shaped wall standing in the middle of the gallery. The dual channel video was projected onto the false wall with on one side for the interrogator, and the other for the suspect. The beeping continued as more words appeared on the wall. It was a dialogue but the suspect was not providing much of a response. The low drumming got faster and immediately the tension in the space grew. I was struggling to concentrate and keep up with the words pounding their way onto the wall. Though the running time is 13 minutes, it seemed to go by much faster than that. My mind was in a daze as I walked back down the corridor and emerged into the daylight. What did I just experience? Whatever it was, it was incredible. I found Interrogation to be an extremely powerful and immersive, full body experience because of the installation. The darkness, the flashing of the letters and the consistent beating noise made the use of the word “assault” in the wall text feel undeniably accurate. The work was an attack from all levels. You can watch the full video that was projected on the artist’s website: http://krunglevicius.com/2/interrogation/ but I must recommend going to the exhibition to get the full experience.

S P A C E S at The Dowse – Exhibtion Review

Featuring artists such as Andrew Barber, Zac Langdon-Pole, Gavin Hurley, Kate Newby, Patrick Lundberg, Fiona Connor and Peter Peryer.

The Dowse Art Museum -13 Dec 2014 – 22 Mar 2015

By Kane Laing

Walking into the space of S P A C E S, the first words that enter my mind are “Looks like Contemporary Art”. It had a feeling of contemporariness with its mix of contemporary aesthetic tropes, the giant abstract canvas, the small paintings, the giant semi-abstract reduction painting, the recontextualised stack of bricks, the intimate black and white photo, and of course the removed and relocated staircases sculpture in the middle of the room. Not to mention the colour theme of grey and white.

On the wall-text of S P A C E S is written:

 “How do you exhibit architecture? The common answer is generally a combination of drawings, models, photography and film – media that may provide a helpful representation but can never quite match the experience of architecture itself. . . Through these works we may begin to notice the physical space around us, and start to ask questions: How much does architecture impact on art? How much does art impact on architecture? Is it possible for the spaces we see art in to be neutral? Are some spaces so interesting architecturally that they dwarf the art? Can art change the way we see and remember a space?”

I don’t feel like any of these really good questions were addressed, except maybe in the most vague manner that only contemporary artists could. It sounds like a wonderful seed to an exhibition, but in this case the exhibition bears boring fruits. The exhibiton was very cold to me and try-hard contemporary, I didn’t like it. It is the sort of exhibition that leaves me with the underwhelming feeling of “Art, who cares.”.

However it was still worthwhile seeing. The stair sculpture was actually totally reconstructed, which was interesting, but I then wondered if it was more interesting than bringing some real stairs in. I really like the painting by Patrick Newby and I am a fan of his stuff, but it does nothing for this exhibition. Some things are kind of nice but nothing gives the exhibition life. It isn’t a bad exhibition it’s just really boring.

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INSTALLATION VIEW WITH WORKS BY GAVIN HURELY, JOHN REYNOLDS & JULIAN DASHPER, AND PATRICK LUNDBERG. PHOTO: JOHN LAKE

I can see the interesting links to architecture in most of these works, but I felt uninspired and distant from the beauty or fascination that can be found in architecture everywhere. The wall text in the show is right on the money and I want to see a show that really embodies those questions. But, I’m sorry, 12 bricks stacked up is a shallow engagement with an interesting concept. To me that is the essence of what is wrong with contemporary art, it’s so vague and clinical, and it can be intimidating to some people when it is so inaccessible. I don’t think the public has to be spoon-fed and there is room for ambiguity and unknowing-tension in art, but at least make it engaging.

The alphabet-art show upstairs was much more fun.

Images taken from The Dowse website

http://dowse.org.nz/exhibitions/detail/spaces