Otto Pienne: Neue Nationalgallerie, Berlin

(own photographs)

Otto Piene's Light Room was exhibited at the Neue Nationalgallerie in Berlin. Light from moving torches was projected through grids, thus extending and stimulating the viewer’s perception of space. Whilst watching this beautiful display, I was reminded of the simplicity of light and how it has been used to overwhelm the audience. I want to utilise Dale's background of performance and installation art to create something that is going to create the same awe I felt in the presence of Piene's work. Space is vital in both Piene's and Dale's work to create atmospheric environments.

-Alice O'Rourke

Atelier Gilardi - Nottingham Contemporary

http://www.nottinghamcontemporary.org/

Atelier Gilardi is currently exhibiting in Nottingham at the, "Nottingham Contemporary" Gallery. As for the gallery itself, it shared the same qualities as the Walsall art Gallery; Sterile and pure. With this piece Gilardi projects control into his audience. The video captures the Seagull as an outsider dealing with the force of natural disaster. The decision to sit in wheelchair is left to audience, it is their role to help through the eyes of the Seagull. 

Gilardi wants the audience to feel they have achieved something impossible. Similar to Dale's role, the outcome is dependent on the audience. Having being involved with the piece, it is a reminder of nature and the unexpected. "What would we do in this situation?" 

The seagull is free, the wheelchair is a metaphor for help. This piece explores the power between people and animals. If something as advanced as human beings can't escape the unexpected, how can a bird? Gilardi questions status, technology and power. 

As for material there are no direct links to Dale's work. Dale explores the collaboration of working with foreign material, often excessive amounts through the act of communication. Gilardi invites his audience towards an uninviting wheelchair, communicating demands through a seagull with desperation to help.

- Becky

Martin Honert: Hamburger Bahnhof, Berlin

MARTIN HONERT.

KINDERKREUZZUG
7 OCTOBER 2012 - 7 APRIL 2013

Childhood memories are central to Martin Honert's artworks which will be presented by the Nationalgalerie in a comprehensive solo exhibition in the main hall of Hamburger Bahnhof. Derived from images that have been preserved in his memory as well as family photographs and drawings he made as a child, the artist recreates moments from his own past and transforms them into three-dimensional objects.

Martin Honert's work holds no significance to theme of our exhibition; it is the way the show was executed that I was fascinated by. His work was visually interactive and cleverly curated to manipulate the viewer. Works were hung in a way that questioned the viewer - "is the piece two dimensional or three dimensional?"It was very clear from the start with regards to the intentions behind Honert's work; for me, this implies a successfully curated show. The positioning of the pieces enabled a narrative between the artist's work and the viewer; the more you saw of the work, the more you linked the pieces together and understood more clearly. The last photograph shows an instillation that dictates how you view the piece. It was placed away from all walls, providing enough room for the viewer to circulate around the piece. There were only two directions to walk; clockwise and anti clockwise. The art piece appeared interactive, but was very detached and distinct in the way you viewed it. 

This reminds me of our idea of perhaps having a performance from Dale during the show; will he want this to come across as a communal piece or something detached from everyone but us and himself?

-Alice O'Rourke 

From the Guggenheim to the Tate

Jenny Holzer - Installation, 1997

(Apologies for the poor quality of this photograph)

Guggenheim,Bilbao

Having recently selected Beth Lloyd as our latested Artist, an immediate connection between Beths work is Jenny Holzer. Not only do both artists promote the idea of confrontation, there is a direct need, almost an obsession to be acknowledged and understood. Having encountered the above piece, "installation,1997" at the Guggenheim, Bilbao the level of control which had been possessed was captivating. I was no longer just an audience, I became manipulated and forced to make sense of a play on words. For a period of time the only importance was to justify a meaning in order to feel an emotional connection between myself and this piece.

Holzers use of scale and composition creates narrative between its audience, informing us of our role, a conversation that we are no longer dominant. In this case the scale of the installation allows us minimal control over the piece. 

- Sense of direction in a foreign country, a set of indicated rules. 
- Freedom had been manipulated, expression of comfort and reassurance.
- Highlighted issues involving propaganda


Tate Modern, London

Jenny Holzer, Truisms

Tate Modern

In this piece the idea of fragility is heavily juxtaposed, any audience is made to feel violated, due to fear. After endless Tate modern visits, my connection that has been so consistent with this piece has been one of the few pieces of art that I have endlessly contemplated. Not only for its level of control but for its underlining understanding of the mental state. The power within the last thing that can be read , the rhetorical questioning of ones actions, "do you want to fall not ever knowing who took you?" Clarifies that Holzer provokes response in order for it to become an Artwork.

Personally, Holzers "Truisms" share a greater significant relationship with Beths work. I understand the structure, composition and content, they share no other relationship apart from their audiences. There are no barriers, no distractions, their job is to communicate, which they successfully achieve.

- Becky

Song Dong: Waste Not, Barbican London

The chinese proverb 'wu jin qui yong' loosely translates as 'waste not', which was the title of Song Dong's exhibition at the Barbican last year. The exhibition depicted a fifty year collection of the artist's Mother's entire belongings in which held some sort of significance to her.

http://www.youtube.com/watch?v=bG4SeIVqhkY

There is an echo of loss to this piece; I feel it loosely links with Kerry-anne's photographic piece. I remember walking into the space and feeling overwhelmed by the content, and I would like our exhibition to echo this same sentiment.

Due to the Barbican not being your typical square four walled room, it meant that, as a viewer, you could embark upon a journey through Song Dong's work. The layout of the piece entailed an intended path in which you had no choice but to follow, and yet I felt that it was my own decision to take that particular route whilst walking around the exhibition.

Song Dong managed to portray these everyday objects into a personal artefact; heightening their importance and almost creating a feeling of respect when one is in their presence. The same applies to us with Dale's paper helicopters; as an everyday object, paper is merely a material we use without too much consideration, but Dale's work explores this material as more than 'just' an everyday material. I intend on creating that same level of respect when we explore Dale's paper works of art.

- Alice O'Rourke

REVEALED GOVERNMENT ART COLLECTION

17th November 2012 - 24th February 2013

Gas Hall, Birmingham Museum & Art Gallery

I visited this exhibition at the Gas Hall and unfortunately was unable to take pictures in there. To me the most interesting part was  ‘Richard Of York Gave Battle In Vain’ which 78 pieces of artwork were chosen by Cornelia Parker.  She chose a salon hang which I found particularly interesting when in a space which seemed so typically white cube. There was a wide range of art from portraiture from the 16^th century to more modern pieces. 

Lucy Orme

Lost in Lace

The ‘Lost in Lace’ exhibition connects to the fragility of Dale and Kerryanne’s work. I found the space very interesting as the concept of the white cube has been disrupted by the architecture of the building. This is something we will have to consider when curating our show.

In particular, Annie Bascoul’s ‘Inverted Crystal Cathedral’ is imposing within the space, yet has a fragile and vulnerable nature. The crystals encourages the viewer to observe the piece up close as well as from a distance.

Lucy Orme

Everything is connected

Peter Liversidge

“Everything is connected”

If we take Art, the connection between more traditional, established art has influenced the contemporary world we live in. We would not make a decision this far into history without consciously or subconsciously informing ourselves of an existing piece. It is hard to believe there is such knowledge as an original idea.  Everything is borrowed; we however adapt to fit in with modern society.  This quote is direct, it informs us, and it does not hesitate in voicing its opinion. If we failed to have a connection throughout history then the present day would be a disconnection of the current. However, it would be impossible as we often, unknowingly, make decisions from our experience of the past; therefore everything is connected even if we don’t want it to be. Liversidge wants us to think, the individual letters stand alone, however they are supported by a structure which connects them together. Would this work better at night? The darkness would be a camouflage for the connection; disguising the truth. Maybe the majority of us are not aware of this connection just as they are not aware of the connection throughout life. We are not aware because we do not think about it.This is a strong piece which is heavily juxtaposed by its surrounding of natural resources. We could argue that this is not a contrast it is in fact a connection as we take the knowledge from nature to project into a man made object.
Liversidge’s work shares a close connection to Jenny Holzer’s work as she to uses proposals to suggest different ways of thinking and informing. The use of text is forceful, opinionated and confident. Liversidge believes in the context so why shouldn't we? This leads onto questioning; should we believe everything we read? There is a close “connection” between the text and propaganda; it manipulates me into believing this is correct purely for its dominance within its surrounding area.
The use of the three words are simple, yet so powerful. As part of human nature we do not read into information as much as we should. For this reason we do not understand the world on a level we need to in order the connection between ourselves and life.This piece is directed to its audience; it is a source of information.

By Becky