Quite high on the list of art I wish I’d seen is Richard Wilson’s installation for the 2007 Liverpool Biennial. Like other works by Wilson, who is probably best known for his installation 20:50 at the Saatchi Gallery (about which more another time, possibly even tomorrow now that it’s in my head), Turning the Place Over was an architectural intervention on an ambitious scale but unlike 20:50 this was a temporary installation made by messing with the fabric of an empty building.
One of my main preoccupations over the last couple of weeks while preparing for the end of year exhibition is how to divide up the space. Obviously for me this involves figuring out where the walls should go and what should go where to make the exhibition make as much sense as possible. But, you know, a bit of literal mindedness and it’s only a small leap from how to divide the studio to Gordon Matta-Clark and the chainsaw and sledgehammer approach to redefining architectural space.
The 1970s may have a lot to answer for in all sorts of ways, but some pretty ground-breaking – or in Matta-Clark’s case building-breaking – art was made then and it’s work that still resonates and that continues to influence subsequent generations of artists.
Bernd and Hilla Becher, Cooling TowersWood-Steel, 1959-77
It would, I suppose, be possible to see Bernd and Hilla Becher’s pictures of industrial structures as boring, particularly if one were to restrict one’s attention to one or two pictures, though for me I think fascination with the detail always wins out. These are perfect pictures. They record the appearance of industrial structures – water towers, gas holders, mine heads etc – with complete objectivity and in forensic detail. The pictures were made over a period nearly five decades – they started collaborating in 1959 and continued until Bernd Becher’s death in 2007 – using a large format camera in the neutral lighting of overcast weather. The structures are viewed straight on, so that verticals remain vertical; the large format camera helps here but the Bechers also worked from raised viewpoints so that we are looking at the structures as directly as possible.