Over the course of the first time my work felt like it was more of the display of the object and the processes which made the replicas of the object or the mode of display. None of these created a spectacle they became more like talking points into what the work could be saying or doing. Taking this and moving forward in the term where my degree show proposal has to be written and also mainly the work for the show has to be made the work has to change gear with it becoming more part of a spectacle of objects and they becoming more part of a performance than a display of re-made objects.
Continuing with some the themes for last term about using the found objects and making them in some part of a performance by looking at the artist Roman Signer. Signer’s “action sculptures” involve setting up, carrying out, and recording “experiments” or events that bear aesthetic results. Day-to-day objects such as umbrellas, tables, boots, containers, hats and bicycles are part of Signer’s working vocabulary. Following carefully planned and strictly executed and documented procedures, the artist enacts and records such acts as explosions, collisions, and the projection of objects through space. Signer advocates ‘controlled destruction, not destruction for its own sake’. Signer gives a humorous twist to the concept of cause and effect and to the traditional scientific method of experimentation and discovery, taking on the self-evidence of scientific logic as an artistic challenge. As well as working in his studio, which he calls his lab, Signer often takes off to the Swiss mountains to conduct larger experiments.
‘Dot’ Roman Signer
By reviewing Signers work it showed me how you can uses objects as part of a performance but Singer also uses himself in lots of his work as shown in the video of ‘Dot’. Myself I think using a human in the work creates a performance due to the fact a human is interacting with the piece. After finding a large 25kg anchor I decided to use it as a start in creating object based performances. But crucially no person was to been seen in the video of the work and like Signer I decided to use quick interventions to change a object. Thus using the weight of the Anchor to hit into a empty plasterboard box.
The outcome of the piece was partly successful as a test but the finish of the box and how after the breaking of the box nothing else began. Furthermore, it highlighted to me the fact that the documentation should not be a video but a live performance or if not possible just the reminisce of the performance.
Where next for this piece ? To make it more a durational piece the the material in which the anchor is hitting needs to change into something more durable. Furthermore objects which are not usually associated with the anchor casted in it. The new idea it that the anchor instead of sideways hitting into a object in the wall it is dropping in a downward motion onto the floor. Where a casted cement box which holds 50 rubber ducks is. The containing motion of the anchor will slowly break the cement causing some of the ducks to be pushed out. But more importantly the reminisce of the work would be greater.
Urs Fischer exhibition ‘The Kiss’ Sadie Coles 2017 made me thing about the tension objects could create to the viewr. Over the space of a month, Fischer’s Plasticine sculpture of The Kiss will transform from a recognisable motif (fractionally larger than Rodin’s first marble version) into an open-ended site of collaboration. The icon of modern sculpture will become a volatile object – able to be inscribed, pulled apart and remodelled spontaneously. The kissing figures are raised on a Plasticine pedestal onto which visitors will be able to climb, so as to become part of the sculptural group – transposed into the work of art. Fischer’s version of The Kiss centralises the idea that an existing image of beauty, an art-historical ‘given’, can be destabilised and reformed through the agency of individuals. Each act of intervention turns the original model into something new: by starting with a fixed image, Fischer draws attention to the contingent processes of distortion and adaptation. In contrast to his participatory clay works of the past five years, which gradually crumble, or the wax-candle sculptures which dissolve over the course of an exhibition, the Plasticine model of The Kiss can be continually reshaped. Each state is equal to the next: the sculpture passes through multiple phases without order or hierarchy.
Urs Fischer ‘The Kiss’ (2017)
The idea of creating tension and also how the artwork can change in the gallery space over the course of an exhibition. A new idea for a piece. A large 30 kg boat anchor is placed to one side of the gallery space attached to a metal link chain which in turn is attached to a large remote controlled car. The car is powerful enough to move the anchor only a few millimetres on each attempt. Over the course of the exhibition the anchor will slowly make progress from one side of the gallery to the other, leaving evidence of its journey through the scratches and rusty marks it makes on the floor. There is no predetermined destination or route for the objects it is purely dictated by the movement of the car. The car will be controlled by a timer working for 1 minute in every 10 throughout the day not just when the gallery is open. This work will centre itself around the element of chance as the final outcome is unknown, although the work creates a spectacle it is predominantly about the documentation of the journey and the struggle in getting to the unknown destination. This itself will be an expensive idea and also lots of planning is needed to I have started creating mock ups of the idea to make it more visual when I describe it.
Over the course of February I will continue to explore ideas for this piece.
Degree show proposal ideas
The idea above maybe become part of my degree show but another idea which I had is below.