The need to connect to the work exhibited has become heightened now for all involved - it as though as Jo had commented 'they need to complete the circuit'. I am reminded of the saying of 'being in touching distance' of something and as we roam these spaces the gap between us and the exhibits closens or is closed by the participants actions. I discuss that there are needs for this connection on different levels and that we have to be aware of the ease of an aesthetic choice, a form recognition or exact material repeat. This is not to say that these connections don't take place but they are done with care and thought. The image above which seems to have become a ocean liner was an image that the group grabbed and took for themsleves, lying across the floor making us or them beleve the join. Visitors peered over their shoulders and they lined up the photograph, a small lie maybe but the connection would be made even if through a visual trickery. In fact the more that the group work in the space the more the tricks and playfulness make sense. they claim a territory of new connections building almost a new space , an alternative to the untouchable one presented. 'It isn't about any of this work anymore' one of them commented, 'it just isn't as important'. This postion doesn't close off the experience of the gallery spaces but it does close a gap between us and them, this and that. The idea of attention has become so important to me, a close attentiveness, of thought- of action -of material. This is all active and physical - i feel it. I feel the tension of the group moving and doing in the spaces at Tate, i am now more uncomfortable than them. We are all attending to the context and how we fill and see it. They are not redundant or passive in this space - far from it - they are materially grounded and at times rate the objects and ingredients that I bring for them in order to see which is most resonant -most ready.
When Lloyd arrived and we sat in the space he said ' I realise that I am holding my object and I am rubbing the surface of the wood as though charging it - so it is ready'. so this goes back to much earlier thinking that these objects have a function and that function enables the connection to take place. Knorr Certina discusses how the epistemic object works because it is never complete and therefore these/my/their objects are not complete until the actions, other artworks, people complete them. They contect to complete and that is the pull.
0 Comments
Leave a Reply. |
Kimberley FosterKimberley's practice as an artist is pedagogical, it doesn’t just reference learning, it plays with, embodies and encourages learning at its core. The objects consider ideas of collaboration and authorship, discussions about touch and encounter, and bring into active consideration issues of learning within social and participatory practices. Archives
October 2018
Categories |