Exhibition Review by AllenTt

Thursday, November 12th, 2015

At THE exhibition visiting day, we went to three galleries and see exhibitions include mediums like photography, video, still or interactive installation…etc. I will only pick three exhibitions from all the works we see that I liked the most and learned the most from them to talk about in this review.

1

IMG_8055“Burden of Proof”, according to the introduction from website of The Photographer’s Gallery, is a photography exhibition contains lots of images that some views might find disturbing. (2015) In order to offer an analysis of the historical and geopolitical contexts, the exhibition presents 11 case studies spanning the period from invention of ‘metric photography of crime scene in the 19th century to the reconstruction of a drone attack in Pakistan in 2012 using digital and satellite technologies.

It’s a serious, critical exhibition designed not to question whether these works were judged in a good way, but only to question the rule of Frances experts of their way of bring images as evidence. The essence is neither about historical fact nor judgement made out of these evidence, but how researchers could be evidence through images and turn the image into evidence for a judgement.

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We can see how experts invent new photo cards or devices to  make picture of crime in these photos. Instead of using”record the evidence”, they use “make picture of crime” to describe the act of making these photography work, which means those scenes are been set up to shoot in ew procedures, but not like randomly shoot at the scene. Some experts come from a problem of interpretations——which means these photos were not taken by them, but they are giving new ways of reading the images, incorporating them for the courtroom or for history.

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The Construction of  these Visual Evidence examines the way photographic images have been harnessed as evidence in instances of crimes or acts of violence suffered by individuals or groups. At the meanwhile, the use of photography as factual evidence in the courtroom became an essential tool in the service of justice from the late 1800s. Over the following century however, the reliability of photographic ‘facts’ were ardently debated, sometimes legitimately contested and often contradicted.(The Photographer’s Gallery 2015)

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There are two reasons I like about this exhibition.

First, It’s not a exhibition about some particular photographer, but a series of photos being designed in display, in order to give audience a view of a special case study as well as raise a question. 

Second, the pIMG_8048urpose of this exhibition make me more interested about the exhibition after I know about this when I did the further research after seeing it. In the book The PhotographyIMG_8052 

 

 

 As Contemporary Art, there is a question I’d like to ask as well——what constitutes a gallery-based experience of photography? This exhibition first shows How to shoot the photos of crime in a special way at that time, and then some artists read those photos in different way, and finally the original photos became some other new art work in displayed in exhibition to show the photos after artist’s interpretation.

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Own Experiment plan to be continued:

Do an matrix photography—-taking some photos of particular object or scene    by using negative Photography(scanning objects with fabric and light on it to reveal the shape and outline of them.

Recreating of crime scene—-

Technique: Measurement, calculations and plans.

Facility: Over headed camera, wide angle lens,

Images were mounted on special cards offering gradations in cm, per spectrometric framing and indications of scale. 


2

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The exhibition named “States of Mind” created by artist Ann Veronica Janssens at Welcome Collection is a really popular exhibition in London recently. Since there is rare chance to be completely immersed with color in our life, people can’t wait to pop in this exhibition and have enough fun in that room filled with coloured mist.

P.S.Before I went to see this exhibition, I already experienced white mist in real life version at London.IMG_7852

Besides the playable side of the exhibition, this interactive installation actually was set up in purpose to explore perception through the use of light and colour.

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Defying the apparent immateriality of the medium, colour is caught in a state of suspension, veiling any detail of surface or depth within the space. Instead, attention is focused on the process of perception itself, destabilising perceptual norms and playing with the material nature of colour and form. Entering the gallery is to submit to colour as a physical entity, to be subsumed by the experience of seeing.

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This installation investigate into the experience of human consciousness focusing on question like “why objective brains give rise to our subjective consciousness?”. And it was sett up to interrogate our understanding of the conscious experience. It reminds us of the richness of our interaction with the world; a personal universe of experience constructed within the confines of our skulls. Exploring phenomena such as somnambulism, mesmerism, and disorders of memory and consciousness, the exhibition will examine ideas around the nature of consciousness, and in particular what can happen when our typical conscious experience is interrupted, damaged or undermined. (Welcome Collection 2015)

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When I wandering around in the color mist, me and my friends need to shout each other’s name to find each other even we are very close. And even the wall is only 5 centimeters away from my hand, I wasn’t sure there is a wall in front of me. I feel like my conscious of the objects around me disappear. I feel quite unsafe instead of enjoying the color-changing mist.

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The color is really amazing, but I was like lost in the mist and I don’t like that feeling. I think that might reminds me of some bad memories when I was a little child, since I get lost by myself in places I’m not familiar with a lot, and there is a clear memory that I thought my grandma left me alone in a place I don’t know for a while only for joking. Lost and Fear is the conscious this exhibition brought to me.

Anyway, Be brave to be  yourself.

  

3

This one is the exhibition I liked the most, not only because the way it exhibition itself is is the type I will like, but also I resonate more in the exhibition.


The exhibition Palisades interweaving two videos – A Minute Ago (2014) and Palisades in Palisades (2014) by artist Rachel Rose directly responded to the Serpentine Sackler Gallery with a unique site-specific installation. Rose created an immersive environment through movement, sound and colour. According to the introduction from The Serpentine Sackler Gallery of the exhibition, Rose’s work presents humanity’s shared current anxieties and their multi-layered interconnectivity through the juxtaposition of seemingly unrelated events, : our changing relationship to the natural world, the advance of technology, catastrophes, our own mortality and the impact of history.


A Minute Ago begins with a video of a sudden and apocalyptic-like hailstorm in Siberia, over which Rose layers a sound recording of Pink Floyd’s Echoes playing to an empty amphitheatre in Pompeii. This scene is fused with Rose’s own footage of Philip Johnson’s Glass House, incorporating a tour led by the architect himself (rotoscoped in from an old VHS). (The Serpentine Sackler Gallery 2015)


In Palisades in Palisades Rose uses a remote control lens and a precise trompe-l’œil editing technique to link a girl standing on the banks of the Hudson River at the Palisades Interstate Park in New York, to different moments in the landscape’s history, including the memory of the site’s involvement in the American Revolutionary War. (The Serpentine Sackler Gallery 2015)

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She draw on subjectivity and personal history, cultural context and ecology to weave seemingly disparate narratives into their work and shows changing relationship between the worlds and humans .
The way Rose display her moving image make me think about the new way of watching films. It’s a very poetic sensual experience. You can hear echoes of sound in the moving image around the exhibition without watching it, so you can image the scene of it. However, at the same time, you could still hear the sound when you sit inside the big room to watch it be uses there is opened doorway and a light window on top of the room. Rose said the glasses window inside the exhibition room connected with the outside park together. The glasses Windows make you think about relationship between inside world and outside world.
The use of music, especially the song I liked a lot in movie Kill Bill I —-the “Bang Bang”, appear in part of her video, giving metaphor to the moving image of juxtaposition of different scenes.
Camera movement is central to the meaning, like a silent verb in the work . In Rose’s video, the movement make us feel like animated but actually just the way we experience distance. I think that’s the way she use to talk about relationship between people and the changing world around us. I remember there is a scene, the picture zoom into a specific detail of the girl’s cloth, and stop on details of her cloth material, which make me feel so pure of it.

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Bibliography

http://thephotographersgallery.org.uk/burden-of-proof-the-construction-of-visual-evidence-3

http://thephotographersgalleryblog.org.uk/2015/10/23/2394/

http://thephotographersgalleryblog.org.uk/2015/10/17/interview-noemie-goudal-on-southern-light-stations/

http://wellcomecollection.org/exhibitions/states-mind-ann-veronica-janssens

http://wellcomecollection.org/whats/about-yellowbluepink

http://wellcomecollection.org/whats/what-world-consciousness

http://wellcomecollection.org/whats/ann-veronica-janssens-advice-entering

http://www.serpentinegalleries.org/exhibitions-events/jimmie-durham-various-items-and-complaints

http://www.serpentinegalleries.org/exhibitions-events/saturday-talks-agnes-gryczkowska-rachel-rose

http://www.serpentinegalleries.org/exhibitions-events/rachel-rose-palisades

https://s3-eu-west-1.amazonaws.com/wp3.eu-west-1.secondvariety.com/pilarcorrias/content/uploads/2014/09/RachelRose.pdf

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