Cécile B. Evans, How happy a Thing can be, 2014, Commissioned by RadarWysing, Photo Plastiques Photography. Courtesy of the artist
Oliver Laric, Mansudae Overseas Project, 2013. Courtesy of the artist, Seventeen, London and Tanya Leighton, Berlin
Johann Arens, Video still of ‘Marte e Venere - A Hand Held Monument’, 2013, Digital video, 10 min. Courtesy of the artist
Nicole Morris, Your Love Will Fade, 2012, Digital Video with sound. Courtesy of the artist
Benedict Drew, Installation view of 'The Onesie Cycle', 2013. Courtesy of the artist and Matt's Gallery, London
Nicholas Brooks, Still from 'The Mimer', HD video, 2014, Courtesy of the artist
Heather Phillipson, Zero-Point Garbage Matte, 2012. Still from HD video, running time: 8.59. Image courtesy the artist
Jerwood Encounters: TTTT
14 May - 22 June 2014
Jerwood Encounters: TTTT
Curated by Sarah Williams
14 May – 22 June 2014
Jerwood Space, London
JOHANN ARENS/ NICHOLAS BROOKS / BENEDICT DREW / CÉCILE B. EVANS /OLIVER LARIC / NICOLE MORRIS / HEATHER PHILLIPSON
TTTT, a Jerwood Encounters exhibition curated by Sarah Williams, responded to recent developments and concerns amongst artists who explore sculpture and screen-based practices in new forms and materialities, in relation to language, technology, image dissemination, sentimentality and anxiety. A series of reconfigured works were shown alongside new works by Oliver Laric and Benedict Drew.
Oliver Laric’s Mansudae Overseas Project is a 75cm tall monument of a stock character, void of profession. The character is kept unspecific, as the method and place of production define its specificity. Laric commissioned this bronze statue with the Mansudae art studio in Pyongyang, the first work they have undertaken for a private individual. From the single bronze Laric received from Pyongyang, multiple copies have been produced. Benedict Drew‘s video work charts a hallucinatory and dyslexic reading of geology, modernist architecture and desire. Drew works with video, sculpture and music, to examine the tension between the analogue and the digital, their parallels and departures, through immersive works that confront this dichotomy in contemporary culture.
Nicholas Brooks, Cécile B. Evans and Nicole Morris each presented reconfigured work; Brooks showed self-made, found and specially manufactured objects staged alongside a screen-based presentation of objects; his interest in objects lies in an intimacy with the virtual. Evans’ work How happy a Thing can be incorporates both sculptural and video elements; 3D printed objects are set with a moving backdrop of a screen alluding to alternate location for these objects. Morris’ reconfiguration of Your Love Will Fade was presented within an environment created specifically for the exhibition; her work explores the performativity of a body in space, how the relationship is navigated and explored within both the filmic construct as well as the actual space of viewing.
Presented for the first time in London, Johann Arens’ film essay, a montage with an ancient depiction of Venus and Mars as its centrepiece, is an enquiry into the illicit tactile relation with artefacts, whilst also considering the recent proliferation of mobile touch-screen interfaces. Heather Phillipson showed a film experienced via a colourful sculptural viewing platform; Phillipson works across video, sculpture, sound, text and live events, splicing images, noises and objects from the digital and physical leftovers at hand.
A series of new works were launched as part of the exhibition’s accompanying events programme. These included a new performance by Nicole Morris; a film screening of How happy a Thing can be by Cécile B. Evans, co-commissioned by Radar, Loughborough University and Wysing Arts Centre; and a staging of a work in progress titled Friendly Things from the Future by Nicholas Brooks.
The curatorial motivation for TTTT was to explore the influence of the contemporary world on approaches to the making of sculpture and three-dimensional artwork. It takes into account the impact of the internet and digital environment on many artists work, seen in the way in which artist are exploring space, language, the body, our relationships to objects (things) and material, specifically in relation to the viewer.
Many of the works in the exhibition utilised screen-based and sculptural approaches, as a way of directing the viewer around, through or into the work. Traditionally sculpture has achieved this through its physical presence, form and materiality. Where screen-based, filmic and sculptural approaches are shown in configuration, further complications occur between viewer and ‘thing’.
The exhibition provided a space to consider how the way in which we perceive and navigate the world is changing as our lives become more mediated through a screen and how artists are responding to these concerns. While in the case of this exhibition, the acronym TTTT refered to the phrase ‘These Things Take Time’, an internet search engine further reveals other associated meanings – ‘Too Tired To Type’ ‘Too Tired To Talk’ and so on. These slippages subtly hint at rapid developments within our language which are influenced by the internet, and to our own experience of ‘things’ and ‘time’ which are also changing in the current technological, economic and political environment.
A catalogue with a commissioned essay by Joanne McNeil was available in the gallery during the exhibition. McNeil is a writer and researcher interested in the ways that technology is shaping art, politics and society. Blog posts by Shama Khanna, Jerwood Visual Arts writer in residence, were published on the blog throughout the exhibition: blog.jerwoodvisualarts.org
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Jerwood Encounters are one-off curated exhibitions which provide artists and curators with new exhibition opportunities and the chance to explore the issues and territories in the borderlands between the main disciplinary fields of the Jerwood Visual Arts programme.
Previous exhibitions in the Encounters series have included Passing Thoughts and Making Plans (Curated by Catherine Yass 4 November – 13 December 2009), For the Sake of the Image (Curated by Suki Chan 3 March – 1 April 2010), SHOW (Curated by Sarah Williams 16 March – 21 April 2011), TERRA (Curated by Hayley Skipper, Forestry Commission 9 November – 11 December 2011) and ASSEMBLY (Curated by Sarah Williams 9 May – 24 June 2012).
For further details of previous exhibitions please visit the Exhibition Archive.
Image: Cécile B. Evans, How happy a Thing can be, 2014, Commissioned by Radar Wysing, Photo Plastiques Photography. Courtesy of the artist
Review by Karl Musson on thisistomorrow.info
Johann Arens, Marte e Venere - A Hand Held Monument, Installation View. Photo: thisistomorrow.info
Heather Phillipson, Zero-Point Garbage Matte, 2012. Installation View. Photo: thisistomorrow.info
Cécile B. Evans, How happy a Thing can be, 2014, Installation View. Photo: thisistomorrow.info
Johann Arens (left), Heather Phillipson (right), Installation View 2014. Photo: thisistomorrow.info
Nicholas Brooks, The Nest of the Wild Stones, 2014. Installation View. Photo: thisistomorrow.info
Nicholas Brooks (left), Nicole Morris (right), Installation View 2014. Photo: thisistomorrow.info
Nicole Morris, Stud, 2014. Installation View 2014. Photo: thisistomorrow.info
Oliver Laric, Mansudae Overseas Project, 2014. Installation View. Photo: thisistomorrow.info
Nicole Morris, Your Love Will Fade, 2012, Installation View. Photo: thisistomorrow.info
Benedict Drew, Mainland Rock, 2014. Installation View. Photo: thisistomorrow.info