I would say I promise to stop writing about Ceal Floyer’s work soon, but, well, there’s at least one more post forming itself in my head so who knows really. She provides just the right mix of ideas, empty white space (usually, but of course now another post, about work that isn’t empty or white is starting to form) and playfulness to make sure I’m fully engaged. In consisting largely of rawlplugs, Do Not Remove reminds me quite a lot of (some of) Susan Collis’s work which I’ve also written about here ad nauseam. Plus, there’s a sign and I rather like signs (indeed I find myself slight surprised to find that I haven’t tagged loads of posts as ‘signs’ but I suspect that’s down to shoddy tagging rather than a lack of posts about signs).
Richard Wright, Untitled, 2009 (Turner Prize exhibition, Tate Britain)
For all that I’m fascinated by Sol Lewitt’s conceptual approach, his wall drawings also bring the extraordinary beauty of Richard Wright’s wall paintings to mind and bring me back to work that can be enjoyed on a purely aesthetic basis. That’s not to say that there are no ideas in play here but faced with a work like the one Wright made for the 2009 Turner Prize exhibition my first reaction is one of wonder at both the extravagant beauty and the scale of the thing.
Drawing on a big scale – and some of Sol LeWitt’s larger wall drawings are on a very big scale, more installation than drawing really – can be quite an undertaking. Even if LeWitt had made most of his work himself he could have been forgiven for bringing in a team of assistants to help out. Given his strategy of generating instructions for others to follow though the process of drawing is, by definition, the domain of hired hands.
Dayanita Singh, Museum Bhavan installed in Go Away Closer
As well as Sarah Lucas at the Whitechapel Gallery, my December exhibition catch-up included a visit to the Hayward Gallery* to see exhibitions by Ana Mendieta (of which more in a later post, I think) and Dayanita Singh. Clearly December was women’s art month in my schedule. As with Lucas at the Whitechapel, there was an overlap with things I’d seen in Venice in the Biennale.**
Dayanita Singh is best known for making books and the books are much in evidence in Go Away Closer, the Hayward Gallery show. As a way of getting art photography to a wide audience this is a strategy with much to recommend it – and it’s certainly one a lot of people are working with right now – but for me it’s no substitute for seeing a great print. And, in the case of Singh’s work, it’s another display strategy that interests me more: her portable museums, displayed here as a group as Museum Bhavan.
Ai Weiwei, S.A.C.R.E.D., 2013 (installation view, Chiesa di Sant’Antonin, Venice as part of Disposition organised by Zuecca Projects and the Lisson Gallery)
Walking into a church in Venice and finding six large black crate-like boxes would be a fairly odd regardless but add couple of dozen other art lovers into the equation, wandering around the space and climbing on little black boxes to peer intently into the crates is a distinctly strange and somewhat unsettling experience. Like most churches in Venice, Chiesa di Sant’Antonin, a fourth century building extensively reworked in the Baroque style in the mid seventeenth century, has a rather ornate interior. The austere black boxes that dominate the floor of the space are an incongruous sight; once one gets beyond the immediate visual confusion, the context raises some interesting questions.
When the 54th Venice Biennale opened in June 2011, Ai Weiwei had been under arrest in China for two months, his absence as powerful a presence in the art world as his work. Museums and galleries rallied; petitions were signed, posters hung and badges worn. Banners questioning Ai’s whereabouts or calling for his release hung from the galleries that represented him; his Circle of Animals / Zodiac Heads sculpture was on show in London and New York, the Sunflower Seeds had only recently gone from the Turbine Hall at Tate Modern. In Venice, Ai was largely absent; he had no work at the Biennale and was scarcely mentioned in any official capacity.
Somewhat confusingly (and, some argued, insultingly), his absence was acknowledged as part of a collateral exhibition by a large sign which read, in four foot tall illuminated letters, ‘Bye bye Ai Weiwei’ positioned prominently on the waterfront on Giudecca island, an, at best, ill-judged work by artist Giuseppe Stampone. Cut forward two years and, though still not allowed to leave China, Ai’s presence was rather more apparent at the 2013 biennale. And this time we got to see his work, some of it in the very building that sign stood outside two years ago, the Zuecca Project Space.
Koki Tanaka, installation view of exhibition in Japan Pavilion, Venice Biennale, 2013
One of the frustrations of art fairs, biennales and the like is the intense time pressure of trying to see everything you want to see in a day (or contemplate buying another ticket to go back, an unappealing option even if one has an extra day free to make it possible), making video and performance works really tricky. On the plus side, the excuse to have a bit of a sit down is often welcome so it’s not all bad. Certainly at last year’s Venice Biennale some of the works I enjoyed the most were time based including a number I really wanted to go back and spend more time with given the chance (didn’t really happen in the case of the things I most wanted to revisit, unfortunately, but that’s the way it goes really). I’ll write more about some of the works that have stayed with me most clearly in the coming days, I hope, but I’ll start with a show that mixed video and objects in a space that still bore the traces of the previous year’s architecture biennale. None of which is what interests me most about the work.