During the Time & Vision exhibition at Bargehouse Gallery we've been recieving some great comments and reviews. We've selected a few to share here.
J.Hund - "Daniel Crooks film of alley-ways is really good - vastly better than most film offerings in the galleries around the world."
L.Goodey - "The work really worked in the context of the building, the curation was brilliant."
E.Piccioli - "Something fresh and cool for the city! "
C. Senko - "Outstanding! - Helen Pynor moved me!"
S. Donelan - "Thanks! Great exhibition."
J. Somerville - "Wonderfully surprising."
B. Moggs - "Enjoyed it, interesting concepts."
A. Coppes - "Interesting. Loved Daniel Crooks."
J. Chadda - "Really fantastic, some really interesting methods and contexts!"
J. Baker - "Enjoyed visit + video artist commentary + talking to Tom - good luck to you!"
A. Davies - "This was great, one of the best exhibitions in 2012."
of the paramount qualities I felt about Time & Vision show was its many
cases and opportunities of interaction and the way a number of different
artists chose to go about incorporating this into their resolved body of work
on display. Either directly or
obliquely, a number of artists in this show I felt dealt with or interpreted
this, into their practice in some kind of way.
One of my favourite pieces going round the exhibition was a collaborative piece by Jaki Middleton and David Lawrey located on the first floor of the space. As you first look into the room it appears black, empty and somewhat hollow; however, after you take even the slightest step inside to investigate, the whole space comes alive; music, lighting, spinning, shining and dancing right in the face of the audience - the piece both shock and entices you (whilst making you squint a little due to the strobe lighting). Now I may have a biased opinion as nothing does it better for me than dance music, but the elaborate lighting coupled with the nostalgic (or amusing) Michael Jackson music, has a lasting effect. Even once you have left the room, the music continues to play until its cycle has ended, leaving the memory of the piece in the back of your head as you walk around the rest of the gallery; and for me leaving a lasting image, which has stayed with me.
Whilst this piece is interactive in the most obvious (but no less important) sense of its activation by the audience, many of the other works in the show have also incorporated this interactive element also. While I am not completely sure if this is the intended interpretation of Nicole Ellis’ work, this is a very important element, which I interpreted from it. The piece was a projection that stretched across the length of the space provided for it, whilst I found myself mesmerised with the projected image, I also found myself equally as interested in the effect that my presence had on the piece.
Being able to walk through the work, I found myself wondering what the effect of human interaction on the piece would be if the work was on a wider scale. I went round the exhibition almost alone so it was only my own shadow or that of my partners which I saw; however I am interested in what the piece would look like with many shadows of the audiences bodies moving across the projection?
body of work by Paul Knight presents a physical intervention/ interaction
through harmoniously contrasting aspects. Photographs have been dissected and almost
positioned back together, the physical intervention being the fold in the
page. Each image is carefully
constructed to give you either the whole picture or a picture that has been
deliberately concealed to eliminate a section. The image interacts with itself
if you will, two halves put together to make a whole. I also found the use of a
frame within a frame, or the piece coming out of the frame a really interesting
take on the presentation of a photograph, as opposed to the usual stereotypical
mounted/ framed piece that you usually see in London galleries.
Ultimately, there are a number of crucial elements that when all combined make this show such a great success and fascinating body of work to see, the international artists have really set a high standard for a London show and it was a real treat to be able to be in London to catch this show when I did. The magnificent art works are only complimented further by the beautiful building that surrounds it, each complimented by its setting and playing with the contrast of new and old between the technology the work presents and building itself, or complementing the setting by an uncanny presence. I feel that this show goes over and above the expectation it has set itself to be an exciting new body of work, and defiantly responds to the challenging location of the show.