This evening I went to the vernissage at CAC Meymac for 'Et si l’espace n’était qu’une dimension intérieure'. I was looking forward to it, and by and large I enjoyed it. There were works by a some very well-known names there (Richard Long with an indoor 'Land' piece, Bruce Nauman with 'Walking in an Exaggerated Manner Around The Perimeter of a Square' etc.), and a number of works which had been made specially for this exhibition. One of these - the black cube emitting yellow light shown below - used the same principles as the work I had in John Moores. Part of its' interest/surprise stemmed from knowing the building well, and suddenly finding this little 'room' where there had previously been none. It comprised two doors (one in, one out) and a window to the outside. The whole interior was vivid yellow which bounced joyfully through the doors. This was one of the very few that I considered more to do with painting than with sculpture.

There was quite a lot of coloured wool, and there was some neon. Cécile Bart's piece was one of the commissioned works, comprising a helicoid series of lead-weighted coloured woollen cords suspended through two stories, almost touching the floor. This was another where the surprise of finding the architecture of the building apparently specially altered played a huge part. Had I never been there before I doubt I would never have noticed this element*, and in retrospect I am left feeling that that is all it had going for it really. The rainbow colours seemed too rainbow-coloured.

I enjoyed the concepts and precision behind a couple of the works in particular: Wolfgang Laib's 1976 'Pierre du lait', and another by someone else (which I want to go back and look at again) using projected light and glass. I'm not being coy, it is just that I couldn't get a decent photograph on my phone, and I didn't spend long with it. The late Fred Sandback had two untitled works on show, dating from 1977 and 1996. They could have been made on the same day, and I can offer no explanation why they shouldn't have been. Notwithstanding this, they were also interesting in the context of my current work.

Martin Kasper had three paintings in the exhibition - human spaces, created for humans to consider other humans, devoid of all human presence.

I'll go back when it is a little quieter (just as ever there were a quite a few people trying to look very intense, and quite a few people spending more time looking at the labels than at the work). There were many other things which I haven't mentioned. Once again, I have to remind myself about the full context of the gallery and exhibition.

*the opening between the two floors is usually blocked by removable panels

 Céline Bart
 Wolfgang Laib
 Fred Sandback (detail)

Martin Kasper

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