A friend and I went to visit Anna Lucas’ work with other artists shown in some of the Leicester university buildings. This was a relatively small exhibition with no real installation elements, however there was a curated journey to take around the building that created an interesting experience of seeking out the works around the environment.
My initial reaction was positive as we watched the video element first, this featured a mixture of filmed environmental scenes from what looked like a community next to an industrial plant. At certain intervals children engaged in games or dancing whilst speaking in another language about various topics, including concepts of love.
As we continued around the exhibition there was a similar sense of ephemerality and this sort of subtle subversion, either through editing or composition. One of my favourite pieces was on the stairs which was a video display of sketchbooks/notes, cut together with each other, this resulted in many hands moving pages at varying intervals. The playful interaction between these images was very interesting to watch as it elevated the individual images into a collective display that was totally different and interesting.
This is a collection of photographs for the exhibition at Attenborough Arts Centre, called The World is a Work in Progress. This exhibition featured a variety of artists and their visions of the future when asked to respond to themes like ‘what might the next 100 years have in store?’
The work overall was interesting and thought provoking and contained a mixture of optimistic and more reserved perspectives, some even predicting a worsening of current events. Some of the vivid and raw expressions were welcome to see after such a suppressive two years recently, I particularly enjoyed the questions prompted by Kai Syng Tan’s work.
These were based around what a neuro-diversity led 2050 might look like? This was explored through Tan adopting a persona ‘Octopussy’ and speed dating people for their opinions, whilst also inviting online people to eavesdrop and encourage further questioning. While the full effect of this work was not shown in the gallery well I feel conceptually this kind of engaged practice is a way forward for art in the future.
Issues around mental health and suicide (both pre and during pandemic) were tackled by Vince Law who sought to highlight in particular the deaths of disabled individuals linked to the Department of Work and Pensions. Seeing their stories told through banners was powerful and although outcomes like these may not be the norm they are a clear indication that whatever systems we have need to change now.
The last things on our trip were some small interactive elements in one of the smaller rooms and Yambe Tam’s Cosmic Garden. The first interactive element was linked to a community project around home, what it is and what it means to us, this was explored by drawing or writing what home meant to you and leaving it in a small box. The second element invited you to make your own miniature Zen Garden (mine is pictured below), this was connected to the Cosmic Garden in the gallery below.
Completing both activates was refreshing, engaging and relaxing and I feel galleries should all have elements such as this to encourage the communities engagement with the art gallery and art itself.
Cosmic Garden was equally engaging but in a subtle and intriguing way, the low light combined with ambient ringing gave the environment a very immersive and calming feel. This was likely to reflect the themes of consciousness approached by Tam and to create a multisensory experience. It also felt very disconnected and removed from usual experience, the dark environment with floating objects coupled with the Cosmic title point to space and perhaps the immersive and expansive darkness.
The only draw back to the exhibition seems to be the size of the space, the work still worked well, I feel a larger space would have amplified the themes of infinite space and reflection. Other points I noticed were the open door in the corner and some exposed plug sockets and doors, these small details seem insignificant but they broke the immersion since they are such regular and recognisable features.
It is difficult to reach expanded and reflective thought when grounded by corridor light and plugs in a corner. This is obviously no negative reflection on Attenborough Centre or Yambe Tam, this is simply a limitation of space, and potentially health and safety.
