Project for Transcultural Memory, MA CAT Goldsmiths
I invite you to participate in a walk through my local area of London. Taking inspiration from a number of mediated sources, the walk is guided by five distinct voices who share their stories of the city. Dwelling in the intersection between official public history and unofficial personal memory the walk attempts to bridge the gap between the two, merging memory and history, fact and fiction, to form a collective memory of the area told by those who reside and move through its streets.
Download the map here: A Walk in Camberwell
Feeling refreshed and inspired after a nice long weekend in Berlin I’m quickly sharing a couple of pieces from exhibitions I saw on the final day of the visit. The works below of Roman Ondák and Michael Sailstorfer both explore the borders between art and everyday life, creating installations which re-examine and dis-place everyday reality and our sense of familiarity.
Roman Ondák, Do not walk outside this area, 2012, Deutsche Guggenheim, Berlin.
Currently showing at the Deutsche Guggenheim is their ‘Artist of the year’ exhibition, Roman Ondák’s ‘Do not walk outside of this area’. Occupying the whole of the modest sized gallery Ondák displays a number of sculptural installation pieces. The show centers around a piece with the same title (shown in the image above) made specifically for the exhibition. A real life aeroplane wing perfectly occupies one room in the gallery space providing a walkway between two rooms in the gallery. In order to visit the final exhibition space the viewer must walk across the installation, using the wing as a footbridge. This action is somewhat surreal, a displacement of reality, as an object usually seen only whilst in the air through aeroplane windows is suddenly placed within a new context. The viewer becomes a ‘performer’, an essential part of the installation. The artwork is a sculptural experience, an act of participation, conjuring both memory and fantasy, at the same time a psychical and imaginary journey.
Michael Sailstorfer, Forst, 2010, Berlinische Galerie (2012).
Further down town in Berlinische Galerie, Michael Sailstorfer occupies the entrance space with his installation Forst. Within this installation 5 trees hang upside down revolving on their own axes. Sailstorfer brings nature into the white gallery space, yet the trees uprooted, upturned and slowly spinning become strange and mesmerising objects put in this unnatural mechanical context. The simple beauty of the piece lies in the remnants and actions of motion; the circular trails of dead leaves left on the floor, the scuff marks created on one of the pristine white gallery walls, and the marvellous moment when the two trees in the centre of the exhibition meet, the rattle of branches entangling and then de-tangling as they are pulled apart separating to begin their individual rotating journeys once more.
La Double Vie de Veronique, Krzysztof Kieślowski, 1991
Long overdue, but I’ve finally got around to creating a blog. Please bear with me while I upload some content and try to make the place look a little bit prettier (I think it will be an ongoing process!). I hope to use this space to share thoughts, artworks, works in progress, writing and projects I’m involved in, whilst exploring ideas, influences and research that underpins my practice – kind of like a live sketch book.
Fingers crossed I can keep it up to date! Watch this space…