Visual Arts, Columbia University, New York

This course examines ways of looking and ways of seeing, both personally & professionally as artists and in a larger cultural context. Through field trips to contemporary art and other cultural sites, conversations with visiting critical thinkers and practicioners, readings, discussions, and visual & written responses, we will examine how we look, think, act, create and respond--critically questioning our own artistic practices and ways of looking at the world.

Wednesday, October 8, 2014

exhibition proposal



For my proposed exhibition almost any gallery will do, but since the show will be specified to the space I will use the Friedrich Petzel Gallery as an example. The gallery walls will be a conventional white and the space will be divided similarly to how we saw it, with two exhibition rooms, one small and one large, connected by the lobby. A mechanized projector will run along a track on the ceiling circuiting the gallery and directing its image onto the walls. The projected video will be a loop of Friedrich Petzel in the nude, waltzing and leaping in the empty gallery space, his position in the gallery in the film corresponding to the position in the gallery onto which his image is projected. As the projector moves from large to small exhibition space, and vice versa, Friedrich Petzel will be seen doing a grand jeté.

Mirroring (in spirit) the movements of Friedrich Petzel on the walls will be a large and immensely heavy tank-like machine that will occupy as much space in the gallery as the rooms will allow while still being able to fit through the narrowest space between the walls. The machine will move along a track on the ground roughly corresponding to the path the nude Friedrich Petzel took as he danced around the gallery, but in a randomized sequence and at a constant rate of 30 mi/hr. Given the erratic and dangerous quality of the tank’s movement, gallery attendants will be confined within the tank’s mechanical construction for the duration of business hours.

No comments:

Post a Comment