8 Mar 2017

Today I went to several art galleries that I have found using the app called ArtRabbit. 

The first gallery I went to was in Ben Brown Fine Arts which presented works from Gavin Turk Give In. He "transforms the gallery into a Museum of Curiosities" that showed non-genuine archaeological objects. Juxtaposing the objects to highlight the importance of each form and function of each item, it forces the viewers to take a closer look as he challenges the notion of value, authorship and identity.

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Turk's minimalist boxes was inspired by Donald Judd, Untitled (1975), which lead to his work of Rotrophydhian(2017). The medicine cabinet is referencing to the idealistic images of society and addressing the long existence of philosophical towards birth, death and decay. The boxes on the wall were created minimalistic so that the attention is towards the objects inside. I think because the boxes was well-made, it seemed elegant, which increases the value of the object in it causing me to be drawn into the work. Similarly to my past plinth work I did during The Language of Objects. Some of his pieces were also placed on the floor which made me observe it in every angle. Why was I so interested at the piece?   

The next gallery I went to was in White Rainbow, showing works from Yuko Mohri Moré Moré (Leaky). Her installation consist of found everyday objects, where she has collected them in cities around the world, wired together to imitate the makeshift water repairs she noticed in the Tokyo metro. Her work spreads across the gallery floor and is also set into a two-dimensional frame. The objects are connected to form a circuit containing flowing water. 

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The sculpture played various noises which came from the machine that pumps the water upwards. I was really into the whole mechanism and how Yuko Mohri re-used found objects to give a new function and meaning to it. 

Moving on, I went to the Korean Culture Centre UK which showed Children Shouldn't Play With Dead Things by Yeji Kim. She combines visual debris and pieces that is collected from online spaces, such as Instagram, and creates montages to give them a new meaning. By removing the narratives, from the original owner of the photo, the image gets appreciated and contemplated. Her paintings shows her understanding of 'shallowness' and 'flatness' in which she presents them in a light and cheerful way. The paintings are bleached, showing no mark of time or space. In result, it makes the audience question how this experience can change the way we observe our visual reality. I was looking at her documentation and also her final works and for me, I did not get the sense of 'shallowness'. I think this is because the fact that she has used bright colours, which indicated cheerfulness to me, took that sense away 

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Lastly, I went to the Aram Gallery to look at No Randomness. No Randomness was not at all related to my project. I just went because I thought it was interesting to know why certain objects are shaped, measured or even coloured a certain way. The gallery promotes and encourages the viewers to understand contemporary designs. "I see it as a methodology to understand the world around me and an attitude towards design" . Knowing the little detail, makes the object seem less boring as it highlights the "hidden beauty of everyday products".  

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