We were given a piece to read beforehand, which basically criticises the curation of the exhibition for making the usual wild claims about mind boggling, earth shattering artists who are reframing our perception and starting new art movements which will alter the world. Fair comment, but hardly the intent of the artists.
http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2012/jul/04/london-open-art-whitechapel-gallery
Most of the OCA group were quite new to the process of studying art. We were given a tour of the exhibition by a very young-looking curator. If anything, the experience reinforced by preference to look at art as unmediated as possible, to let my vision and instincts lead me, and to fill in any more information later, if required. However, it's always fascinating to see art with different eyes, and to hear the kind of questions the group asked - ans also their general resistance and cynicism about some forms of contemporary practice.
I visited the exhibition a few times some years ago when it was the Whitechapel Open. I remember some work from then, but actually doubt if current work will stay in my mind so much.
The piece which created the most debate was a video, with the artist Lucienne Cole recreating in a more everyday way a video of Marianne Faithful from the '60's. If you don't happen to know the original, then it really is just a woman wandering about a garden singing to bushes, and if it is really dependent on the reference, then that should really be included somewhere in the piece or its presentation. Otherwise, why should I, as a viewer, bother to find out, when there are a hundred other video artists knocking on the door.
Memorable pieces:
Martin John Callahan's International Directory of Fictitious Numbers, and his letter responses from world leaders to open, disengenous questions.
The piece which created the most debate was a video, with the artist Lucienne Cole recreating in a more everyday way a video of Marianne Faithful from the '60's. If you don't happen to know the original, then it really is just a woman wandering about a garden singing to bushes, and if it is really dependent on the reference, then that should really be included somewhere in the piece or its presentation. Otherwise, why should I, as a viewer, bother to find out, when there are a hundred other video artists knocking on the door.
Memorable pieces:
Martin John Callahan's International Directory of Fictitious Numbers, and his letter responses from world leaders to open, disengenous questions.
Also took the opportunity to see the piece by Giuseppe Penone, the hollow tree cast lined with gold.
Giuseppe Penone. Spazio di Luci (Space and Light). 2012
I had heard about this work and seen images. You can describe it and see exactly what it is, but you still want to go and see it for yourself. That must be the hallmark of art to strive for.
24th September 2012
No comments:
Post a Comment