In framing worldly experiences, art objects are as pointed in their omissions as their inclusions.
With the complications of most modern galleries reduced to a minimum, objects preconceived as alien to the exhibition environment might be plumped for consideration by the viewer. These instincts can be difficult to trump when visual hitches enter our field of view: plug sockets, paraphernalia for emergencies, plumbed appliances and miscellaneous protuberances veiled on the wall with layers of white paint. The sheer white cube is the endgame of minimalism’s sublimation of the exhibition arena, yet it too is framed by the objects introduced to it for exhibition.
ELEfANTS takes the Joinery’s galleries – which have stayed close to their initial internal layouts – as a ready-made, working with some of the perennial elements, both physical and symbolic that might be (subconsciously at least) identified with the organisation. Take the stoic ubiquity of the red stove, casting it (literally) as poster-boy for these idiosyncrasies, having served a non-speaking role in almost every exhibition in the gallery to date. Also taking a bow: the Joinery’s characterful florescent fitting and its wonderful, verdant ‘J’.
This exhibition is a love letter to a building, taking it not as a neutral vessel, but as a befoibled character to be celebrated.
Co-curated with Peter Prendergast