For my professional practice module I had to visit Grand Union a gallery found in Digbeth (5 minutes walk from where I live). As a tutor group we had to analyse the exhibition Before the Revolution by Torsten Lauschmann and then create a 45 minute presentation based on our criticisms. Below is the slideshow I put together for the presentation of the photos I took on the day we visited:
For my 5 minutes of the presentation I had to answer (which I've provided) the following question:
1. Of the selected works for discussion, what are their physical properties, for example, what is it made from? How big is it? How has the material been treated?
The four pieces in the exhibition are either made from different properties or shown in different ways, ‘Before the revolution’ is a two minute video shown on a monitor on loop, ‘Life like’ is an installation of ten working metallic desk lamps, a switching unit, computer soft and hardware and mixed media, which is pretty much an assortment of different sized rocks, the dimensions of this piece vary every time it is installed. ‘Thaumatrop No1: Bird in a cage’ is a two minute video Projection on loop and ‘Skipping over damaged areas’ is a ten minute HD video projected onto a free standing wall, with a wooden seat placed in front for viewing.
2. How does it’s scale, material handling and installation have bearing on its meaning?
2. How does it’s scale, material handling and installation have bearing on its meaning?
The monitor and lamps are normal domestic objects that can be found in any household making them easier to relate to and perhaps understand, for example with ‘Before the revolution’ the use of a monitor, probably around the size of a 28” screen, can be instantly linked with a computer monitor, which would push people to believe that this is a loading image rather than a functioning piece of work. ‘Skipping over damaged areas’ being projected onto a large floor to ceiling screen with a small wooden seat placed in front invites the audience in and makes it appear like a cinema, setting up the viewing for the content of film titles shown.
In a lot of cases the evidence of technology was left visible to the audience. In ‘Life like’ wires being tangled and grouped together in a corner, whilst clearly attached to a machine that turns the lamps on and off to a set time takes away the mystery of the functioning of this piece. Projectors are not hidden away and the screen on which the film ‘skipping over damaged areas’ is projected onto can be walked behind. This leaves the questions of intention, where these things left out to make the viewer consider the workings of these piece or to take away the fascination of the mechanisms so your focus is solely on the work only. Perhaps there was no intention at all but just laziness on the galleries part. The lamps being made out of a metallic material and with lots of lights around it means that the large amounts of dust that have been left on it are easy to spot, tape is still stuck on the floor and a stepladder is left behind the screen, but all of these things could be part of the galleries laidback approach suggested by it’s urban, industrial environment.
In a lot of cases the evidence of technology was left visible to the audience. In ‘Life like’ wires being tangled and grouped together in a corner, whilst clearly attached to a machine that turns the lamps on and off to a set time takes away the mystery of the functioning of this piece. Projectors are not hidden away and the screen on which the film ‘skipping over damaged areas’ is projected onto can be walked behind. This leaves the questions of intention, where these things left out to make the viewer consider the workings of these piece or to take away the fascination of the mechanisms so your focus is solely on the work only. Perhaps there was no intention at all but just laziness on the galleries part. The lamps being made out of a metallic material and with lots of lights around it means that the large amounts of dust that have been left on it are easy to spot, tape is still stuck on the floor and a stepladder is left behind the screen, but all of these things could be part of the galleries laidback approach suggested by it’s urban, industrial environment.
3. Where does the work come from? Does the object have a different relationship to our culture than to its own, if different?
All of the works in the show are created by Torsten Lauschman, a German artist that has previously studied in Glasgow. Originating from a country that speaks a different language there may have been concern of miscommunication in the pieces when being shown in England, However Lauschman has chosen to show his work with English titles, even the film ‘Skipping over damaged areas’ shows film titles written in English. Although having studied elsewhere and travelling a lot, the period in which Lauschman make all the works shown, 2008-2011, a lot of his time was spent in Glasgow, this could explain his choice in using a more universal language than German, making his work more easily accepted by a wider audience.
Even though Lauschman is from a different country, he is still part of Europe and the western world, so the use of modern technology (the wires, projectors etc) can be accepted and understood, this, along with the choice of language, would mean there would be no difficulties with the communication of the pieces.
Even though Lauschman is from a different country, he is still part of Europe and the western world, so the use of modern technology (the wires, projectors etc) can be accepted and understood, this, along with the choice of language, would mean there would be no difficulties with the communication of the pieces.
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