In: installation art
March 11, 2017
“I see life as a passageway,
with no fixed beginning or destination”
– Do Ho Suh
Humanity is often focused upon the destination of life rather than the journeys travelled. These journeys are the ones that result in a life worth living, instead of a life in which the centre of attention revolves around the end result. To be obsessed with the end result of an endeavour, as opposed to living in the present, is the very premise that the artist Do Ho Suh (b.1962, Seoul, Korea) challenges in his new exhibition, ‘Passage/s’.
Currently on display at the Victoria Miro Gallery, London, Suh’s body of work questions the boundaries of identity as well as the global connection between individuals and groups. After growing up in South Korea, the artist has moved and lived in many different countries, immersing himself in the culture of each one of them. In his work he aims to create a global connection between his identity, his previous destination, and his current journey. He establishes that his own understanding of ‘home’ is both a physical structure and a lived emotional experience. In this sense, the physical structure of a ‘home’ can only be described as the building or property in which one has lived, whereas the home as an emotional experience is documented in the adventures and memories of life. I
Beginning upstairs on the First Floor, the visitor is immediately transported into the many ‘homes’ of the artist. Each independent aspect of a home, whether it is a simple light bulb or a complicated fuse box, has been carefully replicated by Suh’s meticulous hand. Polyester, which is both a fluid and a translucent medium, is the main choice of material for Do Ho Suh. He uses to replicate everyday objects, and its translucency amplifies the importance of concentrating upon the ‘passageways’ of life: you must be able to travel through each destination in order to continue growing and developing.
This concept is heightened in ‘Passage’s: The Pram Project’, a video installation recorded from the perspective of three different cameras. Taped from the comfort of his daughters pram, the video removes the viewer from the controlled environment of the gallery, and places them into the charming streets of Islington and Seoul. Surrounded by the child’s adoring laughter and babbling, we are reminded of the innocence of humanity and the importance of ‘home’ as an emotional connection, something which provides stability and safety.
Continuing on the Lower Floor, Do Ho Suh displays large threaded drawings replicating doorways and stairwells. Each entrance has been accurately copied from the multiple buildings in which Suh has lived, exaggerating how the outside exterior of a ‘home’ does not necessarily reflect the individual immersed within it. For example, not everyone who lives in a London home is British – the immersion of cultures is the most important aspect to create a global identity.
The exhibition arguably concludes with the most impressive component of Do Ho Suh’s work. His series ‘Hubs’ occupies the entirety of the Upper Gallery, where nine reproductions of the apartments in which Suh has called ‘home’ are on display. The transient polyester spaces are connected by threaded doorways and moving doors, enticing the viewer to walk through and experience each room. Although interactive, ‘Hubs’ removes the practical function of a home: door hinges and handles remain motionless while electrical outputs and pipes are frozen without power. By referring back to Suh’s original premise of the home as a physical entity, as well as an emotional experience, we are placed in this complex structure as both ‘private’ and ‘public’ viewers. In one way the elongated home visualises the ‘private’ life of an individual, while the ‘public’ global identity seeps into the design through the fragile material.
I encourage you not just to see the exhibition first-hand, but to interact and engage with the artwork. The unfortunate irony of this brilliant collection of work is the influence of present day technology, and our infatuation and dependence upon our mobile phones. The majority of people visiting exhibitions today try to capture every moment and work of art into a single photograph. This degrades the original intentions of Do Ho Suh and his exploration of life as a journey, as a photograph destroys the steps travelled in order to take it. Life is about the experiences seized by your eyes, not the artificial screen of a phone or lens of a camera; rather than living through your phone, live through reality.
Do Ho Suh‘s ‘Passage/s’ is on display at the Victoria Miro Gallery, London until 18th March, 2017.
December 15, 2016
Art installations are not a new concept in the art world. In the early 20th century, Marcel Duchamp set the roots for future artists to create site-specific pieces that made viewers redefine what they know. For instance, in the 1942 exhibition First Papers of Surrealism he hung several hundreds of feet of twine throughout the exhibition space, creating a weblike veil between that separated the viewer from the artworks hung on the walls.
Some critics claimed it symbolised the difficulties of trying to understand surrealist art, but Duchamp stated that there was no such intention, and that the focus of the piece was on its functionality. Duchamp, who was fascinated by how we look at art, challenged and changed the roll of the audience by creating obstacles within the space; he activated the viewer within the piece, which inspired other artists to explore how visitors could be part of an art installation.
Art lovers will always go to museums and galleries to see their favorite artists and pieces. However, many people still think that going to see art is usually a boring experience. Artists like Miguel Chevalier, Yayoi Kusama, Lucas Samaras, and many more are changing this with their installations. Today, immersive installations have become a huge attraction for people all over the world. For instance, more than two million people went to spend forty-five seconds in Yayoi Kusama’s “Infinity Mirror Room – Filled with the Brilliance of Life” during the two years it toured in Central and South America.
So what makes them so sought after? The answer to that is simple. As humans, we have an inherent desire to escape from the confines of our reality. Every form of art, be it literary or visual, could be an example of our escapism. If you’ve ever seen the infamous Disney movie, Mary Poppins, you would remember the scene in which Mary Poppins, Bert, Jane, and Michael all jump into the sidewalk chalk paintings. Immersive art embodies that fantastic ideal. It creates a physical alternative reality which allows the participant to transcend known perceptions of reality and experience a completely new and unknown environment. Gallery, museum, and art fair visitors are no longer viewers; they are activated within the piece and through interactaction, they become immersed.
Being surrounded by an installation is one thing, but what separates this genre from any other type of arti is what the artist does to activate the individual and make them completely engaged. In Lucas Samaras’s “Room No. 2” (1966), one walks into a space that is covered in mirrors. The room has concrete, finite limitations, but it is completely transformed into endless reflections, forcing the viewer to redefine their perceptions of space. Artist Yayoi Kusama, like Sumaras, uses mirrors to create her surreal installation “All the Eternal Love I Have for Pumpkins.” She inserts her well known, psychedelic pumpkins into the space and they, along with the participant, expand into an endless vision.
“Dear World…Yours, Cambridge” (2015), by Miguel Chevalier, is another example of an installation that challenges the perception of space. It took place in the historic King’s College Chapel in Cambridge, and was commissioned to commemorate some of Cambridge’s renowned alumni. Chevalier filled the chapel with projected images linked to specific alumni. For instance, he used images of vast galaxies and black holes to honor Stephen Hawkins. People walked into what they knew to be a chapel and were transported into a space that was an awe-inspiring visual experience. The manipulation of the known chapel created an aesthetic environment which reconstructed a different reality.
In 2012, Random International –a collaborative experimental studio based in London- created an immersive environment entitled “Rain Room”, where water is continually falling, like rain, but pauses over an individual as they walk through the space. It completely challenges the human experience of being caught in the rain, and that is what makes the installation immersive.
In 2015, Japanese art collective teamLab created an installation that was also based on people’s movement through the exhibition. In the piece, entitled “Floating Flower Garden”, 2,300 flowers hang from the ceiling and whimsically recess as individuals walked through. This surreal environment entices the participants’ senses and uses their bodies as the interface by having the environment react to them. Such unrealistic physically experiences make visitors respond in new ways before an artwork and, in a way, their reaction becomes the actual piece of art.
It may be fair to say that the popularity of these immersive installations stems from the idea that, though we don’t know what to completely expect, we know that we will be experiencing something completely different from any other aspect of our life. Our perceptions are challenged in ways that create emotions of wonder and awe; we are thrown into an abstract reality like Mary Poppins jumping into a chalk painting.
August 7, 2016
Bernardí Roig (Palma de Mallorca, 1965) is one of the most important exponents of the current Spanish art scene. I discovered his work in 2013, while visiting the Spanish National Sculpture Museum. Roig’s disturbing white men were placed among Renaissance and Baroque saints and virgins, surprising visitors with their unexpected presence. It was not the first time that the artist had shown his works among those in museums dedicated to other artistic periods. He has even exhibited them inside iconic religious buildings, such as the Cathedral of Burgos.
This enigmatic intrusion into one of my favourite museums was unforgettable. Therefore, I was very excited to encounter Roig’s works again this summer. In this case the location was Sala Alcalá 31, a very singular exhibition room in the heart of Madrid. This wide, vaulted space built in the 1930s, allows artists and curators to create very interesting and often bold displays. Its unconventional architectural structure, which resembles that of a church, has hosted memorable exhibitions. For instance, Brian Eno presented his 77 Million Paintings there in 2014.
In the case of Roig’s recent solo show, Mind Your Head [Cuidado con la cabeza], light was a crucial element. It created the perfect setting for the sculptures, installations, photographs, objects, videos, and drawings on show. All of them were made during the last two decades, and touched upon many aspects of Roig’s artistic vision.
The mysterious atmosphere of the rooms was striking. It was mainly due to the harsh lighting coming from the fluorescent tubes of some of the artworks. In addition, the building’s theatrical character and the overwhelming presence of white also contributed to create the impression of walking into a sinister alternative reality. Or a place taken from someone’s troubled imagination.
The first artwork that I encountered was ‘Fauno in love’. It introduced one of the main themes of the exhibition: the limits between human and animal. The idea of the metamorphosis is one of Roig’s recurrent themes, and he has explored it in many of his works. An example can be found in ‘Diana and Actaeon’, a twisted rendition of the classical myth featured in Ovid’s Metamorphoses.
One of my favorite pieces was an installation inspired by Thomas Bernhard’s short story Der Italiener. A life-sized sculpture of a dead ox hanging from the ceiling was its main component. In Roig’s interpretation of this subject, which Rembrandt depicted centuries ago, the animal’s insides are transformed into artificial light. Nearby, a tv monitor showing a clip from an 1971 experimental film based on Bernhard’s work completed the display.
Besides the spectacular installations, which definitely make an impression, I was particularly drawn to the series ‘POETS‘. In these drawings, Roig portrays different figures from the Spanish artistic sphere. They all appear dressed in the same austere white robe, with the word “poet” written on it. Their faces, barely recognisable, are distorted by the artist’s strokes. Last year, Galería Max Estrella exhibited the photographs that preceded this series within the framework of the PHotoEspaña festival.
As curator Fernando Castro Flórez pointed out, the exhibition Mind Your Head acted as a warning: be careful when entering your own mind, as what you see may be difficult to recount. After such an intense and unique experience, I cannot wait to submerge myself again into the fascinating visions that constitute Roig’s obsessions.
A virtual tour of Bernardí Roig’s exhibition Mind Your Head is available here. You have been warned!
March 28, 2016
Glenn Ligon has always had a preoccupation with the intersectionality of race, gender, and sexuality. Ligon’s two exhibitions What We Said The Last Time and We Need To Wake Up Cause That’s What Time It Is, in which the artist illustrates his engrossment with these subjects, are occurring simultaneously at Luhring Augustine‘s Chelsea and Bushwick locations.
What We Said The Last Time features a series of seventeen enlarged prints from the paint-splattered pages of the artist’s well-worn copy James Baldwin’s 1953 essay “Stranger in the Village” from Notes of a Native Son (published 1955). Written during a stay in a small settlement in Switzerland, “Stranger in the Village” examines race as a social construct. “From all available evidence no black man had ever set foot in this tiny Swiss village before I came,” Baldwin writes as he documents his experiences as a gay black man visiting the small Swiss town as a way to better understand the African American identity. Also on view is Entanglements, a curatorial project by Ligon that examines how artists use the studio as a base from which to engage momentous cultural shifts and political events in both direct and oblique ways.
Beginning in 1996, Ligon has used Baldwin’s essay as the basis for his “Stranger” series, which includes prints, drawings, and paintings made from oil slick and occasionally coal dust that nearly obscures the text. While working on this series, Ligon kept copies of Baldwin’s essay on his studio table for reference, and over the years they accumulated a large amount of black paint, oil stains, and fingerprints. This show marks the first time Ligon has used the entirety of Baldwin’s essay in his career. Like so much of Ligon’s work, the resulting prints illustrate the role of intertextuality in contemporary art, and how one medium can simultaneously inform and contradict another. The use of Baldwin’s seminal essay attests to the power of language and ink on paper, but Ligon’s pseudo-redaction of the text tells us something different. One page has the page number and top right corner completely ripped off and thick drops of paint cover sections of the text, but we can still see his quick annotations, contrasting Baldwin’s ruminations with the artist’s own spontaneity.
We Need To Wake Up Cause That’s What Time It Is in Bushwick opened January 16 and predominantly features Ligon’s Live (2014), a silent video installation based on the 1982 film Richard Pryor: Live on the Sunset Strip. This is not the first time Mr. Ligon has engaged with Pryor’s work. The artist’s text-based paintings often incorporate references to Pryor’s stand-up, most notably in a series of gold-colored paintings beginning in 1993 based on Pryor’s groundbreaking material from the 1970s. The installation is set up in a circle of six large screens and a smaller screen in a corner. On the smaller screen, we see the unedited version of Pryor’s original performance, while the other screens zoom in on specific parts of Pryor’s body as they appear in the original footage: his head, his shadow, his right hand, his left hand, his mouth, and his groin. The projected images are visible from both sides of the screen, so the viewer can encircle the installation and almost always be confronted by Pryor’s captivating stage presence. Each screen is illuminated only when their designated body parts appear in the original film, so the screens sporadically flicker on and off as your eyes jump around the room to catch his image.
Richard Pryor: Live on the Sunset Strip won the Grammy Award for Best Comedy Recording in 1982, and is still widely considered one of the best comedy albums of all time. Throughout his illustrious career and chaotic personal life, Pryor was anything but shy about his views on sexuality, social injustice, and drug use. On the night on June 9, 1980, for instance, Pryor notoriously lit himself on fire with nothing but a bottle of rum and a match after freebasing cocaine, an incident that undoubtedly accounts for his flame red suit and yellow boutonniere (he also begins his act by asking the members of the audience “Anybody got a light?”)
By fragmenting the footage, Pryor’s body parts seems to move independently from the others. His rapid gestures seem second nature to him, but his expression shifts seamlessly between deadpan and animated throughout the film. The lack of audio is particularly jarring when we see Pryor erupt into fits of emotional gestures and cursing. These moments are often followed by brief periods of complete silence and darkness as the camera temporarily leaves the comedian’s body.
Ligon, Pryor, and Baldwin all share an obsession with the idea of black masculinity, but by drawing on this idea rather than readily subverting it, all three were able to contrast the narrative of blackness with its reality. By cutting up Pryor’s image and muting his voice, and by blacking out Baldwin’s text, Ligon illuminates their vulnerability. This installation subtly critiques the social constructs of race and masculinity, but also emphasizes the limits of language in expressing ourselves to one another. The artist forces us to contemplate the ways in which we represent ourselves, both voluntarily and unconsciously. Moreover, and perhaps more importantly, he also conveys the fact that to be marginalized either as a group or individually means to be silenced, or to essentially be rendered without language. If we do not have language, how do we communicate? Some say that actions speak louder than words, but it seems that Mr. Ligon does not believe the two should be separated.
What We Said The Last Time at Luhring Augustine in Chelsea is on view until April 2, 2016; We Need To Wake Up Cause That’s What Time It Is at Luhring Augustine Bushwick is on view until April 17, 2016.
February 3, 2016
A puzzle. That is how the London Art Fair looked from the first floor of the Business Design Centre in Islington. The 95 art galleries that have been present this year at the 28th edition of the London Art Fair were the extraordinary puzzle pieces that collaborated to create an image of the contemporary and modern art world as it is today.
Curated by Natasha Hoare, Associate Curator at Witte de With for Contemporary Art in Rotterdam, the event was an absolute trip from the perspective of a one-day visitor such as myself.
The Business Design Centre proved to be an excellent space to gather so many galleries from around the world. Their representatives showed enthusiasm and excitement in sharing the work of diverse artistic voices with the visiting public.
I was impressed with the strategies of display, the international context created by the presence of so many galleries from outside UK, and especially by the warmth with which the gallery representatives would welcome and discuss with you the exhibited works and artists.
While touring the galleries, I remembered that Natasha Hoare wrote a book called “The New Curator” which basically consists of interviews with curators from around the world and this art fair definitely felt as though it has been a major international art project.
Through discussion with gallery representatives and some of the artists present at the fair, I could finally form an image of the major shift that has occurred in the art world. Art has become information, which is one of the greatest assets in the present time. Art can be accessible to anyone and this phenomenon gives the artists a larger platform and wider windows towards succeeding in the early stages of their work. If art is information, it travels faster and across longer distances.
You could say that there is actually no distance nowadays; this was apparent in the works of many of the contemporary artists present at the art fair. The main focus is time and closeness. Artists now have access to multinational and multicultural spaces and their source of inspiration has no limit when creating their narratives. Time remains the only competitor against the artist. In the end the winner is actually the public, who are growing in numbers, well-educated, well-informed and can more quickly gain access to art.
The new artist is focused on a cross-cultural dialogue with the public and also on extending the making of their work through a more interdisciplinary route. We now see painters, sculptors, and photographers working with writers, scientists, fashion designers, sound engineers, etc.
Galleries have quickly picked up this trend and are creating the perfect platforms for an artist of the new era, who is creating for a wider and much more knowledgeable public.
We are most certainly witnessing a surge of multi-media art and I absolutely fell in love with the work of Korean multi-media artist Guem MinJeong. Just like the rest of her fellow contemporary artists, Guem MinJeong adds to her art many adjacent skills and here, that is the deal-breaker.
The passage between the old and the new is being forged in a dramatic manner and Guem’s work brings the past, the old, the essence, and the roots into a virtual, futuristic, scientific plan. We witness it, but more importantly, we experience it.
Guem has showcased a series of site-specific video and sculpture installation works – Breathing, Twisted and Melting, Object series – on the theme of “breathing space”. Her installations transform the space of a white wall or embraces impossible external spaces such as forests and ocean into an interior space. Exhibition space itself becomes the subject matter for the artist.
In works such as “Breathing Door” (2007), the artist depicts a large white closed door which inflates and deflates to the sound of slow breathing. Conceived during the artist’s residency in Tamsui, Taiwan in 2014, the rhythmic cycle of the video loop reflects on the pace of 21st century, modern life.
Guem explains that “by making the space that I experience move and breathe, I would rather express the self in it – that is, the essence and value of humans. I wanted to take a closer look at it as a symbol representing the essence of people by moving a physical space, not a narrative film as virtual reality.”
Guem MinJeong holds a DFA from Yonsei University and BFA, MFA from Hongik University, Seoul. Her works are held in private and public collections, including the Seoul Museum of Art and Kumho Museum of Art. She has received numerous awards from Seoul Foundation for Arts and Culture and currently lives in Seoul.
Guem MinJeong was represented by Hanmi Gallery and Ms. Yookin Choi was gracious enough to take me through the art works that they exhibited at the fair and to offer me precious information about the artist mentioned above.
Another artist who impressed me was Steve Goddard. This time, I had the pleasure of actually discussing with Steve how routine is just another madness for an artist. Mr. Goddard did agree that time is precious and that it can be overcome by hard work and dedication to inspiring ideas.
Steve told me that it takes him roughly 9 hours to finish a painting, once the idea has been imprinted in his imagination. He sometimes wakes from his sleep, makes a note of the idea that inspired him, and begins work as soon as he feels that he is ready to paint it.
Looking at his paintings and his sculptures, I felt as if I was an important piece in his art. He seems to attract you inside a tunnel of visions, turning you into his link to reality. Once you have observed the art work, you will become part of its story and it will offer you a place in the imaginary in exchange for your understanding in the reality.
Steve Goddard’s website is a contemporary story about nights of visions, colours in the dark, paintings of nothing that are traps for everything. Art.
Steve Goddard was present at the fair with Galerie Sardac. Mr. Rowan Shulver, Director of Galerie Sardac, was kind enough to answer to a few of my questions with regards to how they perceived the fair. He informed me that Sarah Monk (fair director) and Craig Brown (sales manager) “were a pleasure to work with” and that there was an overall feeling of accomplishment on all sides at the end of the fair.
Sitting in a building of fine and historical architecture on an art school campus, I talked to Victor Cord’homme, a young and green installation artist who is in his fourth year of art studies at this prestigious National School of Fine Arts in Paris (l’Ecole National Supérieur des Beaux Arts de Paris). As a traveller, Victor has been inspired to create installations that transform exhibition spaces into works of art and lead people to discover new spaces and possibilities. While our conversation started with his life at art school, both his artistic practice and his perceptions of the art world speak loudly to a global perspective, which has been constructed through his numerous travelling experiences.
[gallery_bank type=”images” format=”filmstrip” title=”true” desc=”false” img_in_row=”4″ display=”all” sort_by=”pic_id” animation_effect=”bounce” image_width=”600″ album_title=”false” album_id=”23″]
- When did you decide to become an artist?
When I studied marketing at high school, I was very bored of it. Then, I took a gap year after high school to go travelling for 6 months around Asia. I went to Thailand, Cambodia, Vietnam, Laos, India and Nepal. At that time, I missed painting and drawing which I did quite much during my free time throughout my high school years. So I started to think about getting into art school and start art studies. That was my first point of revelation that I started to have the idea of doing art. Then, I started going a lot to museums as my own art cultivation, such as the modern art museum of Paris and Palais de Tokyo. Paris is really a good place to get exposure to a lot of art, which gives me lots of inspirations.
- How did you get into the National School of Fine Arts in Paris (l’Ecole National Supérieur des Beaux Arts de Paris)?
After travelling around, I went to a preparatory school in Paris where I did art every day. That’s a school for people who want to get into all the big art schools. There are various art streams, like fine art, decorative art and so on. It’s pretty competitive to get into the National School of Fine Arts, like 1500 people competing for 70 places each year. At the beginning, you submit your art portfolio of paintings or photos of sculptures. After being screened, then you can enter into later stages like a writing test, a drawing test, and finally an interview panel with three professors.
- Can you share about your life in the art school? What’s the most important thing that you learn in the art school?
I feel the school is like my second home. The school is not just about getting knowledge, but about meeting people here and discussing art and our works with friends. Everybody tries to be an artist here and we’re helping and sharing with one another our views and experiences.
I think art study is not easy at all because there [are] no definite right or wrong answers and it depends on the comments of people around you. The school actually is not demanding, like around 10 hours of classes per week, but we spend most of our time in studios making art. Studying art is about investing a large amount of time while you need to have knowledge of art history. But it’s also out of passion –all the people are being here because they liking doing art. And I enjoy the process as I try to do things that are interesting.
One of the most important things that I learn here is self-motivation because nobody would push you to work. You wouldn’t be forced to do anything here. We learn art history here from many great art historians but you need to get some contemporary knowledge by exploring in museums or galleries yourself.
- Why do you focus on art installations?
Because I like experimenting with different media including painting and sculpture, and I would like to mix several smaller pieces together into one big piece of art. Somehow it’s like matchmaking –a sculpture and a painting can be compatible and even make each other stronger. Sometimes when art pieces come together, they speak a lot more. Installation is interesting because it’s about how to see and interact with space. Painting is my major art practice, but for me, it’s not enough to involve the space around. With installation, I’m trying to create an environment which gets people to discover new spaces, encounter and observe different forms of life and ways of understanding life.
- How exactly do you achieve this with your art – to get people to discover new spaces and ways of understanding life?
For example, with my diploma project in my third year, I created an interactive space that worked with sensors and computers, and there are sounds going on and when more and more people come into the exhibition space, the sounds would keep changing, and so the space would become different. Every person that came into the exhibition added two minutes of available electricity to the space.
And I like taking natural elements from the outside environment, like wind, into the exhibition space inside. Also, I would try to make all elements connected in an installation, like in our environment.
And I would not give out everything at one moment and people would have to come back at different times to discover new things from my installations. So I added lights to the installation so that the space and ambience would be different if people come in daytime or nighttime. I would like to show a temporal dimension of my works because I think time is an interesting material for doing art.
- The idea of exploring and discovering new spaces sounds like travelling. Do you travel a lot? How does travelling inspire your art making?
I had a lot of fun travelling to many countries; I’m just back from Canada where I stayed for few months. Before that, I went to Japan for an art competition and I went to Turkey last year. It’s really interesting to meet and talk to different people and to share experiences. I don’t know how to speak about all the feelings from my travelling but I would like to translate these feelings by art. Art makes it easier to share my travelling experiences and people can feel the connection through my art, maybe unconsciously. Travelling is one of the most important things for me. Being an explorer of this world has given all my inspirations for my art –every time I come back from travelling, I always have new ideas.
- Can you share your most memorable travelling experience?
When I was 19, I left my parents and I went to travel in India and met a lot of people there. Travelling there showed me the real side of life. It’s about meeting and talking to people and learning about their life. You’re in a different culture and environment. People would look at me curiously because I look different from them and some even came to me and asked if I could take photos with them.
- Any artists who have a particularly great influence on your perceptions and practices of art?
First is the Canadian artist, David Altmejd. We’re not in the same way of thinking about art, but he’s my main reference. His sculptures are dense, tell stories and give lots of information. He’s a really interesting artist. There was his exhibition in Paris last year, and I saw his exhibition again in Montreal and could discover new things from his works.
Also, I saw an exhibition of a Thai artist, Korakrit Arunanondchai, at Palais de Tokyo this year. He was making a huge installation with paintings and mannequins put in an interesting way. Actually, I didn’t like his formal way of doing art but his ideas are more interesting.
- How does your art interact with the French contemporary culture?
I think my art does not specifically interact with French culture, but rather the global culture. I don’t think art has to necessarily relate to a certain culture. I prefer to work in global culture rather than just French culture. And we’re in a world of globalisation; everything is mixing and exchanging. I’m more into exploring and mixing several cultures.
- Interesting perspective! So do you see yourself as a world citizen?
Yeah, I think I’m more a world citizen… I’m happy to say that I’m French and I’m having the colours of my flag on me. But actually, I’m French-Danish as my father is French and my mother is Danish. So I have double nationalities and I grew up in both countries, so I’m not solely French. And I also like travelling so much — I like to feel home and meet friends everywhere I go. So I think being a world citizen is more interesting; it’s about your way of acting and it makes your mind more open to different things.
- What do you think about contemporary art?
I think the contemporary art world is very different from the 19th or 20th century when there were prevailing art movements. There are now a lot of different directions happening because there are way more artists and more communication. Everything can kind of be contemporary art, it is way more diverse. Every direction can be interesting, and you need to discover and show to people new ways of thinking. Another thing in the contemporary art world is the need to deal with speculation in the art market, but I think that’s not totally a bad thing.
- How do you perceive yourself as an artist?
I don’t like to say I’m making art pieces… I think I’m kind of trying to be an artist… Being an artist is a huge thing for me and I don’t like this definition. I think I’m just someone who’s thinking and proposing something while using art to show it. I don’t mind if I’m being seen as an artist or not, and I think someone becomes an artist when everyone around sees him/her as an artist.
November 30, 2015
Camden Image Gallery is a hire space gallery with 4 rooms over 2 floors situated in Camden Town, in central London. Camden Image Gallery has four rooms all with light walnut laminate flooring and clean white walls, perfect for displaying artwork; one large and one small room on the ground floor, and one large and one small room in the basement. The large room on the ground floor is fitted with adjustable LED spotlights, great for sculpture and installations. All 4 rooms have a fully adjustable hanging system with a variety of different lengths of rods to suit any artwork.
On the 5th of December until the 11th of December of 2015, Camden Image Gallery will celebrate its second year of success with a very interesting exhibition based on Mixed Media. On the 5th of December there will be a live performance by Periscope View at 7pm. The exhibition will continue from 12-7pm daily.
Let’s meet Elena Chimonas the gallery owner of this interesting hire space gallery.
1. Camden Image Gallery is situated in the heart of Camden Town, Camden Road. Is there a reason why you chose the gallery to be situated in an area like Camden Town? Do you think the area plays a role when artists choose a gallery to showcase their artwork?
Definitely. The location is definitely important. Camden Town used to be a very creative, artistic area, it still is, but it is more focused on music now. So I wanted to help bring back the artistic vibe in the area. A lot of people thanked me for it. I believe that it is important to welcome everybody, no matter on what stage his or her career is. So for me, it doesn’t matter if an artist is studying, or [has been] in the industry for the last 50 or 60 years. If they are passionate in what they do, then I don’t think age or experience matters at all, as long as they are passionate. In terms of artists choosing a space, for me it is very important to have a space next to a station for mobility and accessibility reasons. A space that is welcoming and friendly. I am very lucky to have found this place. It was perfect for what I was looking for.
2. What brought you here? What is your background?
My background is photography. I finished my degree and took full time and part time jobs and entered this space you see here into a gallery. I was very lucky to find this space. It took me a lot of time and work to turn this place into Camden Image Gallery. Initially, I found it in very poor condition, the staircases were not safe to walk down, there were no plugs in the space so I had to strip everything down and rebuild it from the beginning. The walls and the ceilings came down, the floors were renovated and we retouched the two floors. I was very lucky when I found out that there was a large space downstairs that didn’t exist when I took the property. The gallery originally had just two spaces – one upstairs and one downstairs – but then we realised that there was another trapdoor, which led to two separate hidden rooms downstairs as well. One of them was made by clay and concrete and it took us almost 4 months to renovate. We made the two rooms into one. It is actually my favourite room. It is a very long elongated room and works wonderfully for projections on the wall, great for sculptures in the middle of the room. I also have the same hanging system so artists can exhibit there as well. As it is a hire space gallery, the artist can choose either to hire the ground floor or the gallery as a whole, which includes the basement. In terms of Camden Image Gallery, as I said, it is a hire space gallery so people can hire the gallery for as many days as they wish. The gallery is open every single day, including bank holidays and weekends, especially during exhibition dates. I wanted to open a space that has this consistency otherwise it is very complicated to keep up with which galleries are open on which days – some of them are closed on Mondays, some of them on Sundays. I wanted Camden Image Gallery to be open 7 days a week, so people would know that they could always walk in.
3. Are there a lot of hire space galleries in London?
There are lots of hire space galleries and then there are other galleries that represent artists. Those galleries are the galleries that artists sign a contract for a specific time and then the gallery will sell their work through websites perhaps. Then you have hire space galleries, such as myself, where we welcome all artists. Camden Image Gallery for example, charges one fee for set-up, installation help, flyer designs, promotion, invigilating, take down. It all comes together. I wanted to open up a space that welcomes all genres of art. So I have photography, illustration, graphic design, fashion design, and painting – everything that comes under the arts. It is my job to support it. We also have poetry evenings and performance evenings so it is nice to have a space that welcomes anybody.
4. How hard is it for a gallery manager to choose the artists that will display?
It is a hire space gallery. So if the work is of a good standard and it is suitable for the space I accept them.
5. Do you have any restrictions to being exhibited in the gallery?
Generally no. But, I wouldn’t allow anything pornographic in the gallery. That is a genre that I wouldn’t allow. No matter how fantastic or talented an artist is – that is something I wouldn’t want in the space. But everything else is welcome. I have open shutters every day, so I wouldn’t want any children passing by and seeing something like that so I don’t want to accept that kind of genre. The quality has to be good.
6. What do you mean by “quality?”
I mean standard – Anything that has effort in it. Something unusual. Artists like Robin Lee; for me he is a great example of quality. He focuses on the expression of the eye. We had an exhibition a few weeks ago and I am very privileged to have worked with him. He is a great person and a great artist. I understand that it is a contested term and curators don’t tend to agree on what quality means, but in Camden Image Gallery, I stick with “standard”.
7. This leads me to my next question – were there any times when you had to differentiate between your personal likes and what the audience prefers?
Obviously, not everybody will like absolutely everything. If the artist is passionate then it all goes back to the main motto I have as a gallery owner to support artists. I opened up a space because I am passionate about the arts. There were not enough hire spaces to support artists. For example, performance art is not allowed in many galleries – but why not? If a dancer is good enough then why not give them the opportunity to showcase their work? If that is the way they express their art. I want to help. That is the main idea. I don’t differentiate. I just support. Because of that, I don’t target a specific audience; anyone can come into the gallery space. It is absolutely fine for one gallery to welcome just photography, I don’t criticise that. However, Camden Image Gallery has a different approach: to help everybody.
8. What was the hardest thing you came across as a gallery manager?
The hardest thing I came across is the lack of sleep (laughter). Generally, I am a positive person, there is nothing specific that made my life hard during these three years that I started this business.
9. What do you think is the role of art in society? Is there a role?
Of course there is a role. It is the only thing that can keep individuals creative – to keep creative minds buzzing. There are 10% of artists in the world – poets, musicians, and painters. They are the ones that keep the world more interesting. It is lovely that there are arts in the world. What would the world be without images? Imagine walking down the street without images. How boring that would be? It is fantastic to have creative things that people could view.
10. How do you think gallery owners contribute to this role?
By putting up exhibitions and by organising events. Not just that, our job is to draw [in] and engage people to contribute to exhibitions that they wouldn’t normally be subjected to.
11. Generally, the word “art industry” is contested – especially artists cannot accept that sort of label. Since you are an artist yourself, and a gallery owner, do you think art is an industry? Is it easy for you to be both? There is that general idea that the industry “exploits” the artists and it is rarely the opposite. What do you think about that?
It is very difficult to be both indeed. I am a gallery manager 7 days a week and I am a photographer occasionally. So it is difficult to be both. I have always wanted to open up a gallery that is open for everyone. A gallery that will give the voice to every artist regardless of background and experience. Camden Image Gallery is here to help and support artists, as the nature of the gallery promotes all types of genres. Unfortunately, not every artist has the ability to work as full-time artists to be able to support themselves. It is still a very hard industry to get into. That is why it is great that there are many galleries open. They make artists cater to their needs. There are curators and gallery managers that can help set out an artist. Unfortunately not many artists make their living out of art – that is why gallery managers are here to help.
12. Are there any current or future shows that you believe the public should not miss?
The Saturday of the 5th of December from 6 until 8pm will have the opening of an exhibition that celebrates these two fantastic years of Camden Image Gallery. It will be a great celebration and I believe it should not be missed. Periscope View will also be performing a live performance at 7pm. The exhibition will continue from the 6th until the 11th of December, from 12pm until 7pm, daily. Also, for the first time ever, the Camden Image Gallery is organising a charity exhibition – this will be from the 7th until the 13th of January. The gallery will raise money for Solace Women’s Aid.