Feeling Potty About 'Invisible Reality'

Confession; for someone who actively attempts to avoid pots, saucepans and baking trays involved in everyday life activities such as cooking I find them remarkably exciting as aesthetic objects. And let’s face-it, under the functionality of ‘art’ almost anything can become the item of consideration...

 

A celebration of surfaces, worn, burnt and brandished from a lifetime’s worth of cooking and scrubbing; the identity of sustenance past. A compendium of chrome, 50 shades of grey they glisten. A variation of vessels; big pans, small pans, kettles, buckets, karahi, woks and lids! So forgive me for sounding a bit potty, but the South West deserves to go mad for Subodh Gupta’s latest exhibition of suspended saucepans amongst other works on show in, ‘Invisible Reality’ at Hauser and Wirth, Somerset until May 2^nd 2016.

'Chanda Mama door ke' (2015) Found aluminium utensils, fish string, steel. 107 x 191 x 191"

This work (pictured above/opp), titled ‘Chanda Mama door ke’ (From Far Away Uncle Moon Calls) is one of the more recognisable as being Sibodh Gupta’s work; it features the Indian born artist’s now signature saucepans which he has been using to make large scale suspended sculptures for almost three decades. Though nearly all of Gupta’s work involves using everyday materials, “use of functional and found objects relating to his home country, drawing on both cultural and social shifts as well as considering these objects as vessels with personal and geological histories” (but more on that later...) Here at Hauser and Wirth, Somerset they collectively form a giant suspended pot. They seem to defy gravity despite their weight and also suspend themselves in time as though mid-fall hanging silently and suspenseful in the wait for a crash that is never going to happen.

 

The everyday in this work is pleasingly recognisable as individual components but in a context that feels strange and unfamiliar; suspended as both small individual components each with their own history (and debatably beauty) but all part of a larger than life whole that alludes to something bigger than the sum of their parts.  Together they become the giant pot, a nebula or constellation of stars, an explosion, what is created is something more unreal than the mundane circumstances of their origin. The vessel, the pot, the jar and the saucepan also all having symbolic connotations with the feminine, the womb and links with ideas of creation, which are all rather grand and bigger concepts than the humble saucepan.

“highlighting the differences between our mortal lives and the mysterious cosmos beyond...He explores the connectivity between the two, how great meaning can be found in the everyday...”

That last statement echoing what I have felt/said for years....It should come as nothing new to those who have had to listen to me! I suppose the only difference being that ‘seeing’ meaning in the everyday and being able to communicate it in my art work are two quite different things and certainly outlines one of the challenges or ambition of what I’ve been trying to achieve. Back to Gupta however, this idea literally resonates throughout the exhibition and in the work, ‘Touch, Trace, Taste, Truth’ greets you aptly as you enter the exhibition in the form of what at first appears to be a gigantic yellow gong! Resist the temptation to touch! 

 

'Touch, Trace, Taste, Truth' (2015) Brass, steel, barbed wire. 120 x 120 x 64"

Beautifully simple and it isn’t until you peer around the other side that you realise it is in fact a brass pot suspended on its side (its bottom facing you as you come in, Oo-er!). I read somewhere in an article online that this piece and Gupta’s work in general attempts to, “Aggrandise that which we fail to acknowledge...” which again is fairly self-explanatory, but is a very effective way of justifying Gupta’s use of scale both in the literal sense (these works are mostly huge) but also the metaphorical of taking something meagre and making it something much more confrontational and profound. They almost swallow you up! It’s interesting for me personally because when I was researching artists that used the everyday in their work I mostly looked to the American Pop Artists and Abstract Expressionists as artists who blew-up (made big) egg whisks, car tyres, umbrellas and so on; but it had always felt, particularly with Pop Art (with the exception of Jim Dine), that it was too ‘throw-away’, commercial and embroiled in the visuals of advertising for it to truly link with what I was doing by drawing big tools that were a lot less slick than all of that work. Looking further East at artists like Mona Hatoum (who incidentally has a show at the Tate later this year) and probably Subodh Gupta (who I had previously always overlooked) offer a more meaningful approach to everyday objects that possibly would have fitted with my work more had I explored it further. It is that distinction between the mortal and the mysterious that is certainly something to think about.  

'Pressed for Space I' (2015) Aluminium, fabric, resin. 25 x 43 x 3"

You can see where Gupta’s training as a painter early on in his career has influenced his new work in the series, ‘Pressed for Space’ (also on show) where the celebration of surface in the pots and pans is emphasised at its most clearest. The pans are literally pressed ala Cornelia Parker style into the formal rectangle that denotes ‘art’ in the same way the plinth has traditionally done for sculpture. In these we can easily see the wear and texture of the metal pans, though not as easily recognisable for what they originally were they have become more abstract, formal elements; essentially, a painting made of saucepans! In-between the gaps are tightly packed fragments of coloured cloth which add some colour to the composition as well as allude to the biographical element in the work and Gupta’s Indian heritage. The title ‘Pressed for Space’ may also be a reference to living conditions as well as a sense of re-using, not wasting these objects after they’ve gone into disrepair. The resulting ‘image’ viewed like a landscape takes the idea of the romanticism of a landscape painting with the romanticism of the secret inner-lives of these objects that have now been crushed but like the surface of skin or the landscape forever retain the marks of their past histories. [Hence the archaeology comment mentioned earlier.]



'There is nothing outside the text' [detail] (2013). Terracotta jar, wire, steel.

That mentality continues in the piece, ‘There is nothing Outside the Text’; a large terracotta jar bears the scars of once being broken and presented now fixed, held together with wire and a couple of g-clamps. We’ve been here before, they are the ‘cracks that let the light in’ and a whole bunch of metaphors more that make walking around this exhibition like going to a poetry slam. That is what makes this exhibition all so blissfully accessible allowing for multiple interpretations but using archetypal symbols that help guide that meaning to more universal concepts or ideas. Some of the work I have deliberately left out also touches upon environmental ideas, such as the show’s equally immersive central piece, ‘Invisible Reality’ and ‘Specimen No. 108’ so there’s still plenty of excitement to discover should you go see it for yourselves. I’d recommend you do, this is by far the best exhibition Hauser and Wirth Somerset have done to date and sets a president for what is going to be a year of 'the everyday'...More details of which will be coming here very soon!

Subodh Gupta, 'Invisible Reality' is on at Hauser and Wirth Somerset until May 2nd 2016

http://www.hauserwirthsomerset.com/exhibitions/invisible-reality-20160212



 

For what its Wirth

Rumour long foretold of an affluent, prestigious, world-class, contemporary art gallery whose arrival in a small rural town in Somerset was going to bring much joy, prosperity and branded re-useable tote bags throughout the vale. Its name, Hauser and Wirth and we had all been waiting with great expectation for the opening of its latest gallery in Bruton, Somerset this summer. Sharing its name with its other established galleries in London, New York and Zurich, Bruton might not seem like the obvious place for a commercial city-based gallery to set up, but with a gap in the art map that sees Bristol and Bath already hosting our largest contemporary art centres, there was perhaps an opportunity to establish some of the arts market elsewhere. And as the Somerset creative community have already proved, we don’t let being rural get in our way and continue to ensure, ‘there’s art in them thar hills’, often whether people love it/want it, support it or not! Maybe it is our resilience superseded only by our beautiful scenery that inspired the owners of Hauser and Wirth to bring a slice of the city to our middle of nowhere! (or possibly that the gallery’s owners send their children to school in Bruton?... although I prefer  to think it was a bit of both)    

Whatever the reason, Hauser and Wirth's arrival provides a fantastic opportunity to form new links between Somerset and the national/international contemporary art world as well as encouraging more tourism to the area. Now nearly a month has passed since it first opened its doors to the public I went to visit and find out for myself if it all really was ‘wirth’ the wait (forgive the puns, I can’t help myself!)

Subodh Gupta's 'Untitled' (2008) stainless steel bucket in the courtyard of Durslade Farm.

 

Set in the grounds of Durslade Farm, (a former piggery, barns and stables around a central courtyard) Hauser and Wirth boasts five gallery spaces equating to a total 2483 square meters, a one and a half acre meadow garden designed by Piet Oudolf, education rooms, studio spaces and Bar/Bistro.  It is hard to find fault as it is, all without question, beautiful. The standards of design, detail are high from the practical layout of the car-park to courtyard entrance complete with its own outdoor sculptures; a giant stainless steel bucket by Subodh Gupta and humongous bronze by Paul McCarthy (amongst others) to the gallery rooms themselves which feature both contemporary white-walls and spaces where they have retained the original barn features, beams and brick walls. The bar and grill is one of the gallery’s unique highlights and features a bar made from a mêlée of scavenged materials from railway tracks and fragmented paintings on wood with an equally impressive cloakroom, described as ‘a unique installation’ made from industrial lockers and paint cans. I assume it is there to be used...?

Paul McCarthy's 'Ship of Fools, Ship Adrift' (2009-2010) Bronze. 

 

Although this perfection comes at a cost too and I fear its ‘middle-class chic’ could brand Hauser and Wirth Somerset as a place stereotyped to the well-off, retired/middle aged or readers of Country Living magazine. There is nothing wrong with any of those groups per say, as they do make a significant majority of the audiences that view/invest in art in the county (and indeed I have my suspicions they are one of the target audiences Hauser and Wirth are looking to attract, after all they are a commercial gallery) however even though I have studied and seen much art in my modest 27 years, I still felt slight trepidation created by the air of fanciness at Hauser and Wirth, as though such a place was not for the likes of me, that my worthiness of being there was somehow dependant on how many interior design books I owned and kept on my Ikea coffee table (the answer is none by the way, I don’t even own a coffee table!). This was, in part a misconception that was soon dispelled by the friendliness of the staff. I did just come to 'see the art', but as this post proves I often find the context of the art world more distracting in than that of the art work itself.

 

I predict that attracting a wide variety of audiences is Hauser and Wirth Somerset’s greatest challenge (and one that, notably, is shared by many other arts institutions) especially now they are unable to rely on the passing footfall of their naturally busy city venues, this rural and remote gallery will need to ensure that they make an effort to attract and not isolate a wide variety of audiences through its doors (a few road signs to it wouldn’t go amiss either!?) Hauser and Wirth has been successful and got off to a good start in the way it hasn’t just muscled its way into this community simply by throwing its wealth around, it has employed local builders, artists, residents and looked to the local town’s businesses for support and partnership. At present it seems that they are achieving a diverse audience in having learning/events programmes as well as residences with local artists that look to engage with the wider community. I can only hope this is sustained and grown upon in the opening months as it continues to live up-to its reputation and forge new links within the South West.

Louise Bourgeois 'Spider' (1994) Bronze, silver nitrate and brown patina, granite.

 

Its danger of inclusivity could also be helped by the omission of some of its rules which are handed to you on an information sheet on arrival. It feels a bit unnecessarily protective and a negative way to welcome visitors, ‘Please do not drop litter’ being one inane example. I’m not saying you shouldn’t have rules; I am perfectly mature enough understand the sense of not dropping litter or need to protect thousands of pounds of artwork from the onslaught of many fingers poking it, but if anything fills me with a mischievous sense of anarchism it’s when rules are created at the expense of trusting/assuming people have any common sense.  Broadly speaking, it does highlight the problem with Art gallery’s dictum of wanting more people to engage and interact with them/ understand them, being met by their contradictory set of ‘Don'ts’, “we want you to come into our gallery but whilst your here could you engage with the art only by just looking at it, talking’s ok, just don’t do it too loudly and make sure you don’t run, touch, climb, photograph anything but we hope you’ve had an immersive experience.” Perhaps it is unfair of me to vocalise this concern in a post about Hauser and Wirth when it is an issue that affects many arts institutions. I just think that Hauser and Wirth can only seek to gain and would not damage their image of being a professional gallery, by relaxing some of their rules, trusting the general public and their gallery stewards to protect the work. Relax a little!

 

Phyllida Barlow 'Untitled Gig' (2014) Fabric, paper, cord.

 

The opening exhibition was always in danger of being over shadowed by the gallery itself, however an excellent decision to choose sculptor Phylidda Barlow, whose work could easily compete for attention, made a grand opening impression. Her bold/colourful, mixed media (often suspended) installed sculptures do a fantastic job at both invading, if not dominating the space as they do at drawing your attention to the gallery’s architecture and potential.  In some instances they actually block and act like obstacles that have to be navigated either through or around the edges of the room. This is intentional by the artist whose work is, I think, also incredibly playful being both abstract and looking-like objects such as chairs, megaphones, machinery and pompoms. Barlow makes use of strips of coloured fabric, rope, polystyrene, modroc, cardboard and other inexpensive or everyday materials which she manipulates on a large scale in response to the space (think Arte Povera). For me, Barlow’s work is interesting in that it tricks you into being unsure how to determine the weight or density of her work, of which I’ve also seen some of in the Venice Biennale; and appears weighty/heavy in its mass (due to its often large scale) but light at the same time (due to the airy materials she uses). They are quite rhythmical and dynamic in their compositions as well reminding me of paintings by Vorticists, like Wyndham Lewis and looking at them I feel tempted to take a photo so as to flatten them into these remarkable 2-D compositions so I can be aware of the many different works created by viewing it from different angles. Undoubtedly in my mind, it was a bold opening first exhibition that will have created an impact without being too controversial, conceptual or particularly challenging. Perhaps a safe bet, but then it would do no good in alienating people on the opening of its first exhibition.

 

Phyllida Barlow 'Untitled: Grinder' (2014) Plywood, paint.

 

Good things do come to those who wait as Hauser and Wirth Somerset certainly proves. For me personally I find it all a bit similar to the Damien Hirst affect in Ilfracombe. Hauser and Wirth, like Hirst, has the will, the professional business knowledge and money that are needed to fund what are ambitious and impressive galleries, fill them with international art and bring them to these remote rural areas of the South West. However, in order to thrive they must be supported by the public and continue to work with local organisations and local artists; many whom have lived and worked in these areas sustaining the arts for a long time and have equally long had the ambition, the knowledge and desire to do similar things but have struggled to develop under lack of funding or been eradicated completely due to the 2010 Arts Cuts. It is vital that they work together.  Hauser and Wirth Somerset is a great asset and more importantly than the place itself is the impact it will have on the surrounding area, what it may breed and inspire...only time will tell.

Phyllida Barlow's 'Gig' is on at Hauser and Wirth Somerset until 2nd November 2014.

For more details please visit: www.hauserandwirthsomerset.com