Exhibitions – Oct 4th mel

The Curve
Bedwyr Williams
The Gultch


The first room is a beach scene. on the wall a painted ocean, waiting boat, moon, carpet coated in sand, half believable bonfire with a crackling sound, and one running shoe with a voice singing from it. With out being able to situate the room with in the greater narrative of the exhibit I wonder what the signification of simulating a natural space in the gallery space.  If the piece is about transportation via illusion, there shouldn’t be sound bleeding from other rooms. And as I sit writting in my journal about the lack of believability, a suit walks in and starts filming me… after confrontation I realize he thinks im a simulation like the rest of the room.

The video work, set in a confrence style room, brings home the over arching iorny and satire of the whole exhibit, starting with “I was once a depressed hypnotist”. The film is really funny but at the same time cutting as the protagenist is relatable in some ways. The visuals are very psycedlic. As you enter the confrence room you  face the audience (seated at the long confrence table) only to realise the screen is behind you. The whole exhibit thrusts you into a sense of uncertainty, you don’t really  know what you’re getting into to.

I liked the theme of the sneaker with voices and generally dislocated voices coming form different places though I wasnt sure of the signaficance of all the objects or the drums. Though perhaps the signaficance is only to inforce a sense of surealism.

James Richards
Requests and Antisongs


Crumb Mahogany (2016)

I’m no longer particularly impressed by six speakers in a circle. There are so many more ways to engage the viewer and open up opertunites for movement and expolration. In my experience the classic circle was best used by Janet Cardiff’s in the Forty Part Motet. I find the benches in the centre regressive to the spacial and sculptural potential of the sound installation. In terms of content I noticed a reaccuring them of dark brooding mytical/mysterious sounds in a lot of sound pieces. It reminded me a bit of the sound component to Rachel Rose’s Palisides at the Serpentine last October. Although I perfered the varient hights, type, and location of the speakers in Palisides.


“Since 2008, multi-disciplinary label PAN has been building a network of international artists with an emphasis on adaption to the rapidly changing cultural and material conditions of contemporary musicians and sound artists today.

I was dismayed but equally to blame for the audiences reaction. we filed in and sat in rows facing the men behind desks and the two big speakers. It seems that the medial space between sound and art continues to gain prominence in gallery spaces yet often it does not break from the mindset of visual works. The frontal aproach to our bodies and to the point of sound generation should be further questioned to creat new kinds of spaces and thus interaction.

The first performance was a talk by an artist who has gotten his DNA sequenced and will be publishing it online. It was interesting to hear him talk and to think about the future consequences of DNA sequencing corperations. I like the freedome of making a piece where the whole purpose is expolration – not really trying to say anything in particular. However the talk went on for too long and I couldn’t help thinking it was steeped in the very current artistic framework in London.

The second performance was very abrasive and loud. The artist used google maps as visuals, which were very dizzying. I left after the performance not in the right emotonal state to take something so abrasive.

Exhibitions – Oct 4th mel

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