We’ve featured the works of Marilyse Chaussée before, but with the work she’s been doing since our last post we thought it was time for a revisit. In the piece above, What do you think of when you create?, the artist created an installation regrouping four big tracing paper sheets, aligned in order to create a spiral like shape. As Chaussée describes the work,
“My project is about escaping reality by projecting ourselves in a minimal miniature landscape. It talks about reinventing daily living, recycling objects and how to evoke fascination out of the ordinary. It talks about scales, humans and systems. It is playful. I don’t think it’s about nature preservation, I find it relates more to how to deal with what we have, and to go on from there.”
The piece’s title also carries a larger message about how we access art. The title of the work came from a discussion Chaussée had with a colleague who asked her about the inspiration for her works. As she states,
“At first, I dismissed the question thinking that artists have a common understanding of creation process. But I realised that he had a different approach, he would pick up an idea and then bring it to life materially whereas I would play with the proprieties of the materials and think of ideas along the way. This title also alludes to the common belief that in order to appreciate or talk about art one must be a specialist. That is often not the case and, sadly, this belief prevents people from going to galleries and even talking about art. I would like my work to be an access to imaginary and, perhaps, the starting point of interesting discussions.”
This is a really poignant message to contemplate, how do we make galleries more accessible? Why do people sometimes hesitate when talking about art?
Posts tagged installation art
Water Tower (1998-99)
cast polyester resin
CHRISTIAN MARCLAY, The Clock — 29 March - 3 June 2012 @ MCA
Christian Marclay’s groundbreaking 24-hour video work, The Clock, which has attracted record crowds wherever it has been shown and gained numerous credits from art critics, was awarded the prestigious Golden Lion for best artist at last year’s 54th Venice Biennale.
Just as the sentences in a novel build into patterns and story lines, so did Marclay’s clips. Marclay spent three years assembling “The Clock,” that comprises several thousand short extracts from cinema history, each suggesting a particular time of day or referencing a specific moment, often through the appearance of a watch or clock-face. They are edited together to form a continuous visual sequence synchronised with the real time of visitors in the gallery who watch the film; and they suggest countless interlocking narratives despite the constant changes in genres, eras, locations and plotlines. The result marks the exact time in real time for the viewer for 24 consecutive hours.
The Clock highlights the centrality of time within conventional cinematic narratives – the way it binds stories together and leads us through their events. Yet by the same token, cinema traditionally immerses viewers within an illusory sense of time, suspending momentarily the real time of the world outside. The Clock creates an uncanny correspondence between cinematic and real time, drawing viewers into a parallel awareness of what they watch on screen and experience beyond it.
Each hour of “The Clock” has a unique rhythm. Marclay has taken one of the most objective measurements humans have ever devised, one that now strictly governs our working lives, and found poetry and mystery inside hard numbers…
Christian Marclay was born in California in 1955 and grew up in Switzerland. He now lives between London and New York. He is an internationally acclaimed artist who has employed the concept of collage since the 1970s across diverse media including film and video, photography, installation, sound and music.
Image © Christian Marclay, The Clock, 2010. Courtesy White Cube, London and Paula Cooper Gallery, New York. Curator: Rachel Kent
Peter Bradshaw, Christian Marclay’s The Clock: A masterpiece of our times. This staggering artistic montage telling the time in film and TV clips will run on in your thoughts.
Richard B. Woodward, Twenty-Four Hour View Cycle: A superb movie involves us so convincingly in an illusory world that the more prosaic one never enters our thoughts.
Bus riders by Cindy Sherman
“The fabrics are not really authentically African the way people think. They prove to have a crossbred cultural background quite of their own. And it’s the fallacy of that signification that I like. It’s the way I view culture — it’s an artificial construct.” ~ Yinka
Pedestal by Claire Morgan