Chelsea MA Show 2012

Overall, I was surprised, if not shocked, at the general lack of professionalism at Chelsea. Of course, there were some glorious exceptions, but I am so used to visiting exhibitions as an assessor or reviewer that I expect the basics of presentation to have been covered. Surely at an MA show we should see artists good-to-go, ready to exhibit. There was clear evidence of last minute rushing and artists having run out of time, or not completely thought through an idea.

It takes the overall show down if it is difficult to negotiate, and while I really loved getting the chance to wander round an unfamiliar art school, the signage and mapping was really poor and could have easily been made better, with route marking, or colouring. Serendipity is one thing, but I'm sure I didn't get round to everything, again, through lack of clarity.

The show is only open for a few days, and I went near lunchtime on Monday, so although it was sparsely attended, surely the whole idea is that curators, gallerists, fellow artists - all possible colleagues for the future, may just see your work and register it for projects or collaboration. I just can't understand why the artists seemed so blase that it was practically uninvigilated, and that about 80% of the video work was not on, and that there was at least one studio with multiple artists showing with locked doors. Perhaps they were told not to come in.

As for name-signage, cards and booklets, it was at the level of an unambitious degree show. So the tone is set. I love and appreciate an informal aesthetic - things do not have to be slick towards overproduced, but decisions have to be made and stuck to.

There's always someone who does shoes. isn't there? This time, a white painted studio and floor, with many white shoes, and some piles of white clothes further in. They slightly obstruct the entrance - but that's ok, so you step in to see. Only upon exiting do you notice the tiny, handwritten envelope stuck down at the entrance which asks you to remove your shoes, and which everyone else has also not noticed, as evidenced by the many other shoe prints, not just your own.

Finally to the work. It's interesting to refresh ideas of group shows, to avoid worst and borrow best practice. Firstly, artists work better in these environments when they edit away and don't show too much. One statement, one piece, is much better than work which looks like someone has failed to clear their studio. Cards with an image are good, of course - it's surprising that an artist would have one without, or not at all, and again, it's so cheap to produce simply these days that is seems incredible not to have a good quality card. Personally, I liked it when an artist had produced a small booklet about their work which was available, but discretely, and not part of the overall display.

Especially liked:

Lene Shepherd. Sculptures and video of revolving, mirrored complex shapes. I liked these alot- also reminded me of work I have made, so a particular response.

Hyijung Lee. A small maze of multicoloured gauze curtains that guides you to her card table. Really lovely and enjoyable use of tiny space.

Liz Elton. Mixtures of painting, and photographs of painting membranes in sea settings.

Rosie Farrell. Multi video installation - liked the set up - open shelves in the middle, projecting either sides.

Junghee Shin. Photos with toys or models really well integrated into street views.

And the catalogue:
Name, email, website. Not having some text is a missing opportunity, having too much is too much.

11th September 2012