7 September 2010 § Leave a comment
Following yesterdays post a couple more thoughts. Courtesy of the Critcismism blog we have Martin Creed‘s Half the Air in a Given Space. Here he calculates exactly half the air that should normally occupy the room and measures the equivalent into balloons. He translates something intangible in to something real. One walks through the room and becomes aware of the normally invisible/ignored air around you.
Air naturally is also a life-giving force. Invisible yet essential. Catharine D’Ignazio, otherwise known as Kanarinka is a US-based collaborative performance artist. In a project called It Takes 154,000 Breaths to Evacuate Boston in 2007/8 she ‘ran the entire evacuation route system in Boston and attempted to measure the distance in human breath.’ Post 9/11 this was Breath as a measurement of time, distance and fear.
The project also involved a podcast and a sculptural installation of ‘the archive of tens of thousands of breaths.’ The archive comprises a series of jars, each with the sound of the breath used to fill it. Very neat! Wolf Vostell did something similar in 1972 broadcasting live the sound of gallery visitors chewing gum presented to them. Here it was the Fluxus doctrine of art=life=art connecting the visitor directly with the art.
Clearly any discussion of air in art ends up largely as essentially an examination of what effects the air has on other objects, what ‘contains the air’ or what ‘the air contains’ rather than the air itself. An imaginary thesis perhaps could translate this as air 1/ in the context of the natural environment 2/ as a life-giving force and a concept 3/ as a container for other matter and 4/ as an object to be contained and used?
Ultimately the problem of course is that it is essentially invisible and only conceptual art, such as that of Duchamp and Creed, seems to address this with even partial success. I will however leave any deeper analysis to others more talented and knowledgeable – perhaps the guy at Barcelona University who is doing a thesis on art and breath! Visit his Art & Breath Blog here.
Enough from me – I have art funds to analyse. Now there is a source for a lot of hot air in art! New post coming soon!!
- Much ado about nothing: Why Martin Creed is the master of minimalism (independent.co.uk)
- Martin Creed at Fruitmarket Gallery, Edinburgh, Seven magazine review (telegraph.co.uk)
- Prickly customers: Martin Creed and Richard Wright in Edinburgh (guardian.co.uk)
6 September 2010 § 1 Comment
Bin bags and subway air. How often does one find that the very best ideas are the simplest ones – whether it be art, design, film, literature – perhaps anything for that matter! Joshua Allen Harris in New York has created animals using just tape and plastic bags, fitting them over subway air vents. As the trains pass they inflate and come to temporary ‘life’.
I was accordingly inspired to determine where else I have seen ‘air’ used in art. Although the impressionists looked to capture the fleeting effects of light in the open air they hardly painted the ‘air’ itself – although Albert Moore said of James Whistler in the infamous Ruskin vs Whistler libel trial of 1878 that he ‘has painted the air, which few others have attempted’. In reality Duchamp probably got there first (again) with the 50cc ampoule of Paris Air that he sent to NY dealer Walter Arensberg. It was broken but a copy was made in 1949.
Jeff Koons’ Rabbit, despite being rather annoying, is another that ‘jumps’ to mind. Appearing inflatable it visually challenges the viewer on several levels is and raises questions about the nature of art. Its mirrored surface seduces like jewellery,Koons stating that “polished objects have often been displayed by the church and by wealthy people to set a stage of both material security and enlightenment of spiritual nature; the stainless steel is a fake reflection of that stage.” The reflective surface also reflects the environment of the art – it changes with its surroundings.
Scraping the barrel for ideas I guess you could say that Dan Flavin uses tubes of ‘air’. Using the light from fluorescent tubes he literally paints the surrounding spaces – but not the air of course – with light (on reflection a bit too tenuous that one!) Meanwhile many artists have also used absence, empty spaces and for example closed galleries (famously Yves Klein’s empty Clert Gallery in NY 1958 entitled Le Vide) to challenge meaning in art – but here the air itself is actually an irrelevance as the debate is more about the space.
My last straws clutched are with examples of what you might call ‘air made visible’ with Francis Alys, recently at the Tate, and Olafur Eliasson. Alys repeatedly and determinedly rushes headlong into raging dust storms. See the video here. This is what Will Gompertz says:
For Alys, the dust storm suggests the imminent collapse of a system of government or of political order. The act of running into the storm, which we see repeated over and over again, also invites interpretation: is the artist no longer able to combat the chaos he encounters? Is he recognising the vanity of poetic gestures at a time of calamity? Or is it only within the chaos that he can challenge the turmoil around him? Reaching the centre of the storm, the artist is breathless and almost blinded, yet he encounters a furtive moment of peace that could hint at a new moment of possibility.
Eliasson in his excellent Berlin exhibition Innen Stadt Aussen concerns itself closely with the relationship between museum and city, architecture and landscape, as well as between space, body and time. It is with the latter relationships in mind that he fills the closing room of the exhibition with a thick mist which he illuminates with changing light. The air becomes opaque – all that is air melts into solid Marx might say? – and all your senses are challenged (youtube video below). Any more airy art suggestions anyone? Have I missed a whole train of thought?!
- Jeff Koons’ “Rabbit,” the Brain, and Postmodern Art (psychologytoday.com)