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.
Encountering favourite works again by chance is always a real pleasure. My visit to the Exchange in Penzance while on holiday in Cornwall was brief but unexpectedly enjoyable. Apart from seeing the title of the show, I hadn’t really checked what was on before pitching up there (I also hadn’t checked what time the gallery closed, hence the brevity of my visit; why do I never learn?) so beyond thinking 3am: wonder, paranoia and the restless nightsoundedlike my kind of exhibition, I arrived, as is so often the case, essentially clueless. In the main the works I liked the most were the ones I knew already but that’s hardly a problem when those works included some real favourites, especially Francis Alÿs’s The Nightwatch, seen here as a single channel video but sometimes shown as a bank of monitors. Francis Alÿs is probably one of my favourite artists (I’m fickle, it’s an ever changing list; but he’s usually on it, I would say) and The Nightwatch is one of the main reasons why.
Francis Alÿs, Paradox of Praxis I (Sometimes Making Something Leads to Nothing), 1997
It’s the idea of making art by making a journey that’s brought Francis Alÿs to mind now. Alÿs is an artist whose work I find fascinating. It can be funny, moving, thought-provoking and, in a couple of cases, really quite alarming. And quite a few of his video works are all about the journey. I’m pretty sure I’ll write about other works by Alÿs at some point but the idea of the dismantling and remaking of the shed in Simon Starling’s Shedboatshed (Mobile Architecture no. 2) in my mind, has made me think about Alÿs turning something into nothing by making a journey.
In fairness, a block of ice in Mexico City stood a proverbial snowball’s chance in hell really, but Alÿs has made facilitating the act of disappearing the ice into a pleasingly futile act through the application of hard work in the hot sun.