Pae White’s recent exhibition Too Much Night, 2008, (click image left) at Neugerriemschneider in Berlin, was attempt at a baroque installation. The overall “installation experience”, however, was not especially powerful. Installation art in the 1990s and 2000s has developed various effective strategies such as immersion, narrative, and exploration. This installation was not really immersive, it was too much like a shop window display for that. But it did have a non-linear narrative dimension that demanded some, but not a great deal, of exploration. (more…)
Whereas Nairy Baghramian, Annette Wehrmann and Mark Wallinger indulged in yet more variations on the interminable Readymade theme Hans-Peter Feldman went past such superficial interpretations of deconstructive art and tackled the deeper, underlying issue which is the reconciliation of art with life (more…)
Liam Gillick’s crosses the boundary between art and design as is evident in his piece for the Yokohama Triennale 2001 which is indistinguishable from interior décor coordinated with what appears to be seating (but I am not sure whether the museum would allow the visitor to sit on these pieces). It is interesting to note that Gillick’s design in the Yokohama is not especially modernist. Like other postmodern artists Gillick is eclectic, able to mix the rectangularity of classical modernist design with popist colour of the sculptural pieces and the funky curvilinearity of his wall decoration. (more…)
Pae White’s recent exhibition Too Much Night, 2008, (click image left) at Neugerriemschneider in Berlin, was attempt at a baroque installation. The overall “installation experience”, however, was not especially powerful. Installation art in the 1990s and 2000s has developed various effective strategies such as immersion, narrative, and exploration. This installation was not really immersive, it was too much like a shop window display for that. But it did have a non-linear narrative dimension that demanded some, but not a great deal, of exploration. (more…)
