Video

Derive exhibition

In discussion with Kelly Briggs and Nicole Hudson

Considering the possibilities of documentation for the exhibition, myself and Kelly decided that it would be useful for the development of our professional practises to follow the lead of the galleries we take inspiration from in our research (having been inspired by the ‘Bloomberg Tate Shots’ etc) and create a documentary discussing our work in further detail to accompany our research files and reflective journal.   

(Source: kellybriggs92)

Text

Essay

My BA5 essay focused upon the role of interactive art in todays society and the change in the role of the viewer it creates. I touched upon the subject of the gallery as a tourist attraction and how this effects the art itself, and given the BA6 focus on exhibiting, for my essay I have expanded upon this notion. My interest in interactive art and its increasing presence in my artistic practise has lead me to continue to focus around this example of an art form in respect to the question of the gallery. Referencing theoretical approaches including Claire Bishop and Brian O’Doherty as well as contemporary examples of interactive art, I have discussed how the role of interaction changes as the gallery becomes more of a ‘tourist attraction’ and how this effects both the art and the viewer. I plan to continue to research around these subject areas, combining the research from both BA5 and BA6 to begin to consider the formulation of my final Research Report next year.

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The Vernissage

Held in the evening, I feel that Vernissages (private views) are taken as much more of an official event here in ESA then at NUA (where private views are generally held during lunch hours). With exhibitions being irregular here in Reunion we had a lot of interest from both our school of Beaux Art and the Architecture school, as well as guests from outside of the arts institutions (in total around 50 people). The social behaviour of the viewers was very interesting in association with my theoretical research. Upon enetering the gallery the lights were all off ready for the projection of Kelly’s video, the room only therefore lit by the other smaller video works. Not reaslising the situation, the viewers were unsure as to how to react to this and began to instinctivly look around the art works as they perhaps felt they were expected to, despite the lack of lighting. At the Vernissage, the ‘bean bag’ sculpture was mostly interacted with by individuals, viewers generally taking it in turns rather then interacting on mass. Viewers became more likely to fully let go and interact with it once the gallery had emptied out slightly, self concious of their transformation into part of the sculpture. I was however pleased with how the sculptural form changed continously over the course of the exhibition as intended and feel this piece has potential to envolve in furture works. On the upper corridor away from the exhibition room, Kelly’s balloon installation saw the viewer really ‘letting go’ and having fun with the work. This is again interesting that perhaps the rooms seperation from the ‘official gallery space’ meant that the social behaviour changed from formal to fully playful.

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The final layout of the exhibition including the correct gallery lighting.

The exhibiton included a range of works from sculpture, painting (canvas and wall painting), photography, video, installation and performance. The Vernissage will commence with a speach by the Erasmus co-ordinator (using a translated text that we sent to him briefly explaing each of our artistic practises). On entering the gallery, the lights will be off, and the video work of Kelly will be projected across an entire wall of the gallery a single time (only once to reflecting her take on advertising that she incoporates in her practise). Hans Peter will then do a performative work with fabric, which will then be left to become a sculptural element. I have formed my interactive ‘bean bag’ into a ‘perfect’ shape, interested to see whether the viewers will interct or be un-certain as to whether they were allowed. I displayed by orange sculptue on a diagonal in a corner so that it has a more dinamic prescence in the space and the screen points directly to the bean bag; as once sat on the bean bag one is at the same height level as the screen. The quality of the video on the screen is in fact viewed better from a distance (in reflection the video would need to be played on a higher resolution screen to be effectivly viewed from within the sculpture as originally intended, however I do not have access to such apperatus).  The sculpture also points directly towards the accompanying photograph that I purposly placed on the other side of the room, not wanting to have it directly next to the sculptural piece; wanting the viewer to explore and discover the connection for themselves. I chose two Sculpture in a Pocket images (to be mounted slightly seperated from the other photograph to indicate the seperate series of work, but still as a complimentary amount of images) I chose the two images as not only do they portray examples of the very different environments that I have encountered here, but also when placed next to each other have the appearence of a continous horizon line flowing from the left image down into the right. The ‘bean bag’ is placed in front of the Sculptue in a Pocket images as it was these photograhic images that inspired the creation of the interatcive sculpture.

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For lighting we spent alot of time testing the different types of spot lights on each piece in order for it to be well lit but not too harsh. The lighting had be considered around the installation piece of Dorina that used projected imagery. After its initial creating, it was discovered that the projection was also cast over the surrounding walls, which cast shadows over the other works. We therfore arranged with a fellow student who was not part of the exhibition group to use a mapping computer programme to project the imagery soley on the intended areas.

“unshadowed, white, clean, artificial, the space is devoted to the technology of esthetics” Brian O’Doherty (Inside the White Cube)
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In terms of organising and curating the exhibition, we started very early on with emails and meetings; keeping in very close contact through out the process in order to have a clear idea of the proposed pieces to be exhibited. For each of us, the final pieces exhibited were a selection that had been wittled down from an original larger choice; chosen to work in better corrolation with one another or through the trial and final decisions to not exhibit. Our practises are all very different yet our proposed works hold many simularities as they have all been created drawing inspiration from our time in Reunion. We therfore decided not to have a ‘theme’, the exhibition to be an Erasmus exhibition anyway, however chose to not use Erasmus in the title as we wanted to be reflect the independency of which we have organised and curated the exhibition. Drawing inspiration from my research into physchogeography as well as our seperate physical journies to Reunion, we finally chose the title Derive (meaning to let ones mind wander, or to travel through a city with out a predetermined route-reflecting the sense of exploring the island to find inspiration for our art). The poster design was proposed by Dorina (using a still from her instillation as its imagery of clouds linked symbolically with the title) and as a group we spent a lot of time discussing and creating the final design. In terms of the spacing in the gallery we started the installation on a Thursday, the exhibiton starting the following Monday. This allowed for enough time to clean and re-paint the gallery, curate, install and light test. Reflectivly, perhaps a negative of the exhibition was that  there was alot of large sculptural or installation works, and not lot of smaller works to be contemplated in a lot of detail. With this in mind as well as practical considerations such as plug sockets etc, we had little choice in terms of placing, however we experimented alot until we were pleased with the final layout. The set up also required alot of organisiation in terms of pre booking equipment, discussions with the technitians, and projection and sound tests.

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the playful and subjective methods of the surrealists, Dubord

Interactive vocabularies (Clark and Hélio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future, Simone Osthoff) audience interaction creating a dialogue between viewer and artist

Exploring the complimentary aspects of positive and negative space (Osthoff)

From work to event. We are the mould, it’s up to you to breathe substance into it, Frieze art review on Lygia Clark

Ce sont les regardeurs qui font les tableaux (it is the viewers who make the pictures) Duchamp

It’s an opportunity for people to involve themselves with the work, become aware of their own bodies, gravity, effort, fatigue, their bodies under different conditions (Robert Morris, discussing BodySpaceMotionThings)

My theoretical research has been very orientated around the notion of the viewer interacting with the art. I feel that by interacting, the viewer is then commencing into a dialogue with both the art and artist. The works I produce are almost autobiographical representaions of myself, , my sense of place, and have become to develop into a language (my own language, created to substitue my loss of spoken language, the Sculpture in a Pocket heiroglyph idea etc), and so this dialogue between artist, art, place and viewer is a key element.

For the exhibition, I have decided to exhibit my orange sculpture, as it has been a key work from this term and has expanded my ideas. I will exhibit the photographic image of the sculpture at the Savanna, and then have a television screen at the centre of the sculpture showing a video of the savanna, the back and forth converstation of the sculpture being out of context when placed in the environment to the place becoming out of context in an art environment interesting to me.

I will also be exhibiting selected imagery from the Sculpture in a Pocket series as I feel that it is important to display this starting point of my practise in Reunion.

   Inspired by by both my own manipulation of the Sculpture in a Pocket fabric and the research I have been conducting (Claire Bishop, Richard Morris, Lygia Clark etc), I have decided to cretae a large 3D fabric piece to be manipulated by the viewer. Inspired by a quote by my tutor in regards to the the Social studio that I created in BA5; its furniture something to use but also to be viewed, and a sculpture can also be a situation, I decided to create a large ‘bean bag’ sculptural form to be manipulated by the viewer, whether through playing, moving, or just the change of shape left from the imprint of their body after sitting. I am interested to see whether people in a formal gallery situation will let go have fun with the piece or whether they will keep in decorum with a sense of formality; as discussed in my previous essay, when interacting the viewer not only in a way becomes the artist, but also the art; they become part of the piece viewed by those who dont interact-their actions/reactions to the piece are as important as the piece itself.

I used blue fabric as it symbolises the commence of the blue and orange collaboration I have begun with Kelly, as well as drawing inspiration from the research this collaboration has led me to commence into colour phychology: blue is a colour of stability,clenliness, faith, associated with depth, power, tranquility and a higher level of intelligence/perspective. This will hopefully lead the viewers to phsychologically feel at ease to interact with the piece; blue is also the colour of the posters for the exhibition, and I have purposly used the same fabric as used for my orange sculpture to aethetically link the two works further then their colours already do.

 

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Blue and Orange Collaborative installation piece :the proposed exhibition piece

Having decided to put the fabric performance piece/video on hold until after the exhibition; Kelly and myself created a proposal for two connecting installations derived from our individual practises and research yet in keeping with the blue and orange collaboration.

Kelly having decided to re-create the balloon room installation made in BA5 (yet using only orange balloons) and following from my BA5 immersive sea projection installation (were I had hoped to consume the viewer in the colour blue) I proposed to expand this idea and create a blue room at the opposite end of the upper corridor to Kelly’s orange room, the two colours to expand out of the rooms and meet in a dialogue of colour in the middle of the corridor.

The idea developed to incorporate fabric (the key material of my other current works) becoming an almost sculptural waterfall of material that blocked the corridor off at one end, a blue light to be shining behind it, creating a sense of curiosity to the viewer at what would be in the space behing the fabric, whilst immersing them in the colour. The familiarity of the corridor to the students would be made strange, their perception distorted by the overwhelm of the single colours. It will still be the same functional space, yet changed to become somewhere In the gap between art and life (Robert Rauschenberg).

If after the experience of ‘walking’ we become more conscious of our gestures (Lygia Clark, About the magic of object, 1965)…after being overwhelmed in the colours blue and orange, the viewer would become increasingly aware of the two colours in other spaces, the blue and orange collaboration then existing on through the viewer.  Something worthy of the name of experience cannot leave us where we began (Juliet Steyn, The Experience of Art).

 

We did rigorous tests with different lighting techniques, different materials, the way to attach each material to the lighting without risk of fire hazards etc; however finally there was not a possibility of us being able to find a light source strong enough that could left on for the duration of the exhibition Vernissage whilst holding a light filter (without a fire risk). The only lights that worked with filters were only suitable for acting as flash lights for photography shoots. We proposed then to use one strong white light behind the blue fabric and one in the ballon room, and create our own filters for the ceiling lights in between in the corridor, however there was only one other strong light that could be borrowed from the school that functioned, and we were incredibly limited on the materials availiable to create effective filters.

 

For the exhibition Kelly will also be exhibiting a video work following from her recent Join the Orange event for her brand Daisy and the Triangle, and so I decided that given the circumstances I would not create the blue installation for this exhibition and would recreate it after further testing or when back in the UK; leaving the balloon room to function then as a complimentary piece to the video work. Although not to be displayed, I feel that the proposal of this idea has potential and the experimental prosess has been educational as it not only involved alot of technical problem solving but also requried numerous negotiations (in French) with different technitians and teachers to gain the access and permission to both the corridor space and the equipment.

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The focus of the BA6 unit being to publically exhibit ones art, I have carried out a lot of research into potential venues here in Réunion island. A small island, there is a limited art scene and so very few gallery spaces and exhibitions. As part of the Erasmus exchange we are entitled to hold an Erasmus exhibition at the schools onsite gallery and so after discussions with the ESA Erasmus co-ordinator, it was decided that we would hold the Erasmus exhibition slightly earlier then originally planned, in order for it to be in time for our BA6 submission, and allowing us to focus all of our efforts into one exhibition, rather then attempting two in close sucession (as after the two weeks of workshops, the school closed for two weeks meaning that there was no access to the technical facilities my personal practise requires). Originally, Kelly and myself had planned to create the video of our collborative performative fabric piece, to be shown in the exhibition, however with the transport related difficulties we have and our ideal location decided for the Plein de Sable (the volcanic area in the south of the island; the vast grey landscape a canvas for our colourful fabric to highlight) we decided to pause with the project to then re-commence after the exhibiton (for us to then exhibit when we return to the UK).
   I therefore have under taken alot of refelction upon what to exhibit, using my theoretical research as a platform to aid my decision.
(several extracted examples;)

Travel is very useful and it exercises the imagination (Celine) Debord

To be away from home and yet to feel at home anywhere, to be at the very centre of the world, and yet to be unseen of the world, (Baudelaire 1972: 400) (referenced from Keith Tester, The Flaneur, Routledge 1994)
The experience of experience, Goldberg (referenced from Understanding installation art, from Duchamp to Holzer, by Mark Rosenthal)
Landscape is the progenitor of a translucent mist that puts perspective and tone/color in opposition, Inside the White Cube

The focus of the BA6 unit being to publically exhibit ones art, I have carried out a lot of research into potential venues here in Réunion island. A small island, there is a limited art scene and so very few gallery spaces and exhibitions. As part of the Erasmus exchange we are entitled to hold an Erasmus exhibition at the schools onsite gallery and so after discussions with the ESA Erasmus co-ordinator, it was decided that we would hold the Erasmus exhibition slightly earlier then originally planned, in order for it to be in time for our BA6 submission, and allowing us to focus all of our efforts into one exhibition, rather then attempting two in close sucession (as after the two weeks of workshops, the school closed for two weeks meaning that there was no access to the technical facilities my personal practise requires). Originally, Kelly and myself had planned to create the video of our collborative performative fabric piece, to be shown in the exhibition, however with the transport related difficulties we have and our ideal location decided for the Plein de Sable (the volcanic area in the south of the island; the vast grey landscape a canvas for our colourful fabric to highlight) we decided to pause with the project to then re-commence after the exhibiton (for us to then exhibit when we return to the UK).

   I therefore have under taken alot of refelction upon what to exhibit, using my theoretical research as a platform to aid my decision.

(several extracted examples;)

  • Travel is very useful and it exercises the imagination (Celine) Debord

  • To be away from home and yet to feel at home anywhere, to be at the very centre of the world, and yet to be unseen of the world, (Baudelaire 1972: 400) (referenced from Keith Tester, The Flaneur, Routledge 1994)
  • The experience of experience, Goldberg (referenced from Understanding installation art, from Duchamp to Holzer, by Mark Rosenthal)
  • Landscape is the progenitor of a translucent mist that puts perspective and tone/color in opposition, Inside the White Cube
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For Kelly’s work she has been planning an event for her false brand Daisy and the Triangle, where she will ecourage people to wear orange but without purpose or explanation. This was planned before the Blue and Orange collaboration, and although there was the possibility to encorporate it into the collaborative work and also hold a Blue event, I felt that it did not hold the same purposes that my part in the blue/orange collaboration links to my practise, and therefore we decided that it should be kept as a Daisy and the Triangle event to keep the brand present in the UK during Kelly’s absence. I have however created a poster concept for the event, and helped with its creation.

For Kelly’s work she has been planning an event for her false brand Daisy and the Triangle, where she will ecourage people to wear orange but without purpose or explanation. This was planned before the Blue and Orange collaboration, and although there was the possibility to encorporate it into the collaborative work and also hold a Blue event, I felt that it did not hold the same purposes that my part in the blue/orange collaboration links to my practise, and therefore we decided that it should be kept as a Daisy and the Triangle event to keep the brand present in the UK during Kelly’s absence. I have however created a poster concept for the event, and helped with its creation.