The Dark Show
Jeremy Eilers, Ed Atkins, Mathew Hale, Mark Barker, Kate Cooper, Julie & Maude Belgrand, Oscar Carlson, Sam Crack, David Barbarino, Alex Haßenpflug, Justin Jaeckle, Rachel Pimm, Aki Nagasaka, Casper Perrin Yoakum, Kazimierz Jankowski, Patrick Shier, Louise Weiss
Curated by Katie Guggenheim
5 June—6 June 2008
Open from dusk till dawn, from 9.15pm Thursday till 4.45am Friday
The door is wide open, but a thick dark curtain hides the inside of the space.
You step into the darkness.
The exhibition is doubled in blue. TV pixels crying, whistling, hanging from a desert tree. Funeral drums blind and bleached flying in electric sarcophaguses underneath the cemetery of light. And deus ex machina a fine cool breeze takes me dancing anywhere, anywhere but he(A)r/e
Suddenly, in the darkness, the giant shadow of a lobster looms over the exhibition.
Two chairs sit either side of a wooden table, the surface of which is decorated with Indian ink. A tall glass bottle with a tallow (lamb and beef fat) candle wedged in its neck, stands on the table alongside a pile of eight science fiction novellas from the 60s and 70s whose shapes correspond to eight gaps in the decoration of the table.
A double-exposed photograph of the new Borley rectory printed on glow in the dark paper.
I fully understand that this is not how you intended the work to be but people are unpredictable.
A set of tools (two flashing lights of “NO” and “love you” and 3m rope) that help us navigate through psychological space and negotiate the stance we have towards others. The viewers are encouraged to use the tools, however, the piece should remain in the exhibition space all the time.
A feature film almost entirely blacked out leaving three scenes in which a train crosses both the city and the screen.
Kerze (After Daydream Nation) is a film of a print of a painting of a photograph of a candle, an animation of a parasol opening sequentially in three stages prompted by changing lights.
I want to shed light on the darkness by showing something that cannot be seen.
A column of black, light and reflections: a sculpture with functional possibilities (and aspirations of being a chandelier), a theatrical model that glitters under intermittent and varied light sources and 2 Final Portraits, big broken button Grecian hawk pug roman (aquiline).
This glittering spectre of a colonnade slots into the existing architecture, floor to ceiling catching and dispersing light like a prism.
A 35mm camera and flash are mounted at the top of a twelve-feet, wheeled tripod. The flash is covered with red and green coloured gels. An air-release is connected to the shutter of the camera; its bulb hanging down to the bottom of the tripod.
A group of girls dancing, silhouetted by the illumination of colored spotlights, installed with a commentary detailing their actions.
Matt: “That isn’t what I mean. I want to know why you followed me.”
Alice: “Because … well, because, that’s all.”
You find the curtain again.
You step out of the darkness.