Richard Long, A Line Made By Walking, England 1967
I can’t quite decide whether Richard Long’s 1967 work A Line Made by Walking is an example of taking a line for a walk or the exact opposite. Long has effectively made a drawing, of sorts, by walking and certainly – as with Ceal Floyer’s Taking a Line for a Walk – the line is a result of an actual walk but here it’s the act of walking that has brought the line into being, albeit on a temporary basis, rather than a tool used by the artist; the drawing too herel, rather than being a pencil – or a line painting machine or whatever – is the artist himself.
Long’s work, of course, is probably better described as something other than a drawing. Effectively it’s an intervention artwork which has left a temporary trace; the landscape would probably have reasserted itself and obliterated the line before anyone other than Long ever saw it. In this work, as in many interventions, it is the documentation – the photograph – that becomes the exhibited work.
There are lots of drawings that fit neatly under Klee’s description of ‘taking a line for a walk’ but few that do it quite as literally as Ceal Floyer’s Taking a Line for a Walk, in which a line painting machine of the sort normally used to mark out tennis courts and the like is walked through the gallery space leaving a trace that takes the audience on a journey through the space.
I’ve written about Francis Alÿs going for a walk here before (that time in the form of his Pradox of Praxisfor which he pushed a block of ice around the streets of Mexico City until all he had to show for his efforts was a rapidly drying water mark of the pavement) but this week, given the awful news from Gaza, it’s his 2004 work The Green Line: Sometimes doing something poetic can become political and sometimes doing something political can become poetic that’s worked it’s way back into my mind.
I can’t pretend to have anything more than the most rudimentary understanding of the politics of the middle east but this is a work that at least helps with some basics by taking us back to the division of Jerusalem after the end of the Arab-Isreali war in 1948: the green line drawn on a map of the city by Moshe Dyan.
Given that this is the season on sparkly lights, it seems timely to remind myself about Joana Vasconcelos’s Trafaria Praia, the Pavilion of Portugal at the 2013 Venice Biennale. Part art installation, part ferry, this was an unusual space even for Venice. Vasconcelos transformed a Lisbon ferry into an installation that made regular tours of the lagoon. The boat was moored close to the exit of the Giardini – one of the two main Biennale sites and home to many national pavilions – but those who timed their visits right could take a short trip around the lagoon on the Trafaria Praia.
Given more time, I suspect I’d have enjoyed the trip well enough but the pressure of trying to see everything I want to at biennale is such that time based works are inevitably tricky and this is a city where being on land is the novelty so my visit to Trafaria Praia was restricted to visiting the boat at its mooring point. Until I boarded the boat I’d kind of forgotten about the excess of Vasconcelos’s work but, even if it’d been really fresh in my mind, nothing of hers I’ve seen before would have quite prepared me for this.
As the media marks the death of Margaret Thatcher with blanket television coverage looking back at her time in office some familiar images are brought back to mind. But sometimes it’s hard to disentangle the memories: which of the images am I really recalling from the 1980s? In the case of the images of the 1983/4 miners’ strike, the boundaries between news footage and re-enactment are very blurry in my head. I remember the strike very well; I remember the marches and the benefit gigs, I remember throwing money into collection buckets every day on my way to and from work, probably with a ‘coal not dole’ badge on my coat, and I remember the news reports. At least, I think I do. But there’s a distinct possibility that some of that memory is somewhat second hand. The images of Orgreave that are so clear in my mind come not just from the news reports of the time, shocking though they were, but also from Jeremy Deller’s 2001 re-enactment of the event, filmed by Mike Figgis.
Snow is one of my very favourite things. I might not like the inconvenience of it and I’m not keen on the slip hazard aspect but that fades into insignificance against the way it looks. So snow as art is something I might reasonably be expected to love, right? Well, as it turns out, not necessarily.
In the run up to his exhibition at the Barbican in 2000, Andy Goldsworthy brought thirteen giant snowballs to London, placing them around the city to be discovered on midsummer day. The snowballs, each weighing approximately a ton and approximately 2m across, had been made in Scotland during the previous two winters and kept in cold-storage in readiness. Embedded in them were reminders of the rural landscape from which they originated which would become more apparent as the snow melted leaving behind the twigs, pebbles, sheep’s wool, barbed wire and so on.
Allan Kaprow, Poster for Fluids: a Happening by Allan Kaprow, 1967
While Francis Alÿs choose to melt ice the hard way, he’s not the only – or the first – artist to make art from ice melting away. In 1967, Allan Kaprow staged a Fluxus ‘happening’ in which enclosures were built from large blocks of ice around the Los Angeles area; they were then left to melt away. Kaprow advertised the event in advance to find volunteers to help build the enclosures, a major undertaking given their size.
The event was documented photographically – by Dennis Hopper (yes, that Dennis Hopper) – but essentially this was an event to be experienced in real life rather; it existed for those who were involved in the building process and in a different way for those who came across the ice enclosures before they melted away.
Lindsay Seers, installation view of Entangled² at Turner Contemporary, 2012
Seeing Lindsay Seers’s work is never straightforward. Her work is essentially video but it’s never as simple as watching something on a monitor or projected onto the gallery wall. Entangled² is no exception. Unlike previous works I’ve seen, Seers hasn’t built a space within a space to contain the work here. Instead it’s shown in an existing part of the gallery building but one the publicity material refers to as a ‘secret location within Turner Contemporary’. There are screenings every half hour; those wanting to see the work are met in the foyer and led out through the car park to the space. While this is something that could easily irritate me, I’ve found all the work I’ve seen by Seers so far really intriguing so I quite enjoyed loitering in the foyer and wondering who else was on a Seers-seeing mission. And, a real plus, it mean that the whole audience was in placed and headphoned-up before the piece started which meant no distracting comings and goings during the film. So far so good, but what about the work?
Dan Graham, Triangular Solid with Circular Inserts, 1989
(installed at Peggy Guggenheim, Venice)
Over the last couple of posts we’ve kind of established that reflections can be confusing and can change the way we experience space. But regular readers must know by now that once I’ve caught hold of a thread I’ll pull at it just that bit longer than is reasonable so today is, um, well, more of the same really. Sorry about that.
Much of Dan Graham’s work, in particular his two-way mirror pavilions – could be seen as architecture as well as art. The pavilions are small glass structures which are usually partly made of mirrored glass which confuses the way the structure reflects the environment it sits in. The effect of this is that people are prone to wandering in and out of view unexpectedly and the space seems to change as one walks round or through the structure.
Daniel Buren, Borrowing and Multiplying the Landscape, 2011
Art is a window on the world. Well, in the case of Daniel Buren’s Borrowing and Multiplying the Landscape, installed for the opening of Turner Contemporary in Margate last year, it is. Buren’s installation modifies the view of the sea beyond the windows of the gallery foyer by covering much of the glass with coloured tape so that the sea is seen through a circular window cut into the yellow stripes. In a sense the work forms an inverse sun framing, on my visit at least, the greyness of and English summer afternoon. Ah well.