Tag Archives: art galleries

CRITICAL MASS: MAKING THE VISUAL VISIBLE

7 Jul

Luketauntaun

Thursday 10th July, 1pm-5pm Hestercombe Gallery, Cheddon Fitzpaine, Taunton, Somerset TA2 8LG

Please join me, Mark Segal (The Artists Agency, formerly director of the mighty ArtSway), Tom Freshwater (Contemporary Arts Programme Manager at The National Trust) and artist Alexa De Ferranti for a seminar about practice and support for artists outside of England’s cities. It takes place at Hestercombe Gallery, the new contemporary venue at Hestercombe House in the splendidly named Cheddon Fitzpaine, just north of Taunton in Somerset. You can thank Google’s “smart” search helper for the picture of “Taunton” above, by the way.

It costs £10 but bursaries and free transport are available to those who might need it, e.g. and most particularly artists. Apply ASAP, using one of the links below. You just need to very briefly explain why you’d like to attend.

More details of tickets, bursaries and transport here, along with info about Hestercombe.

Same ticket and bursary stuff, different link.

Somerset’s really “happening” right now. Hauser and Wirth faaaaaarrrmmmmmmmm. Expect a confused Phyllida Barlow or Mark Wallinger in the area soon, walking around with shopping bags on their feet like Richard E. Grant in Withnail & I. “We’ve gone on holiday by mistake. We’re in this cottage here. Are you the farmer?”

THE VOID

11 Feb
Yves Klein, IKB171

Yves Klein, IKB171

Most people never get to see art galleries when they’re between shows and completely empty of art. Personally, I often find that I like the now orthodox and universal white cube gallery setup much more when it’s vacant than I do when it’s full. I’m remembered in a few places for having them paint the walls because I hate white ones so much when I’m showing my work. I’m guessing that Yves Klein (1928-1962) was also struck by the alienating, Zen effect of the empty white gallery and its effect on our state of mind as we look at art; hence Le Vide (The Void) of 1958 at Galerie Iris Clert, Paris.

This completely whitewashed, bare space was meticulously hyped by Klein and the resulting so-called “scandal” of an artist exhibiting an empty gallery attracted over two thousand people to the opening. Note the empty vitrine in one of the pictures. Here’s where I sigh and ruefully shake my head at the fact that over half a century on from Klein, there are still some otherwise intelligent people (including artists) who don’t understand conceptual art, performance and artistic interventions, and still think it’s scandalous and enraging if an artist doesn’t produce a saleable physical object.

On the subject of white sterility, though, The Void in these photographs actually looks quite grimy and textured in that particularly Parisian way, doesn’t it? It’s not a smooth, clinical space, that’s for certain.

These images are from the interesting and comprehensive Yves Klein Archives.

1958_clert_5 1958_clert_4 1958_clert_2 1958_clert_3

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