The turner prize
I remember seeing this guy on the telly when they gave him the prize, I thought it was a laugh untill they handed him an obscene amount of money for rewiring the light fixtures. I remember his comment too "I can't really explain it, except that the lights DO turn on...and off" Sheer genius that. I guess it's liberating that we too, in the quite of our own homes, can be cutting edge artists, simply by flipping the lights on...and off. Repeatedly.
Enjoy that thought people.
Turner prize winner 2001:
For the Turner Prize exhibition, Creed has decided to show Work # 227: The lights going on and off. Nothing is added to the space and nothing is taken away, but at intervals of five seconds the gallery is filled with light and then subsequently thrown into darkness. Realising the premise set out in Work # 232, Creed celebrates the mechanics of the everyday, and in manipulating the gallery's existing light fittings he creates a new and unexpected effect. In the context of Tate Britain, an institution displaying a huge variety of objects, this work challenges the traditional methods of museum display and thus the encounter one would normally expect to have in a gallery. Disrupting the norm, allowing and then denying the lights their function, Creed plays with the viewer's sense of space and time. Our negotiation of the gallery is impeded, yet we become more aware of our own visual sensitivity, the actuality of the space and our own actions within it. We are invited to
re-evaluate our relationship to our immediate surroundings, to look again and to question what we are presented with. Responding to the actual condition in which he has been asked to exhibit, Creed exposes rules, conventions and opportunities that are usually overlooked, and in so doing implicates and empowers the viewer.
Enjoy that thought people.
Turner prize winner 2001:
For the Turner Prize exhibition, Creed has decided to show Work # 227: The lights going on and off. Nothing is added to the space and nothing is taken away, but at intervals of five seconds the gallery is filled with light and then subsequently thrown into darkness. Realising the premise set out in Work # 232, Creed celebrates the mechanics of the everyday, and in manipulating the gallery's existing light fittings he creates a new and unexpected effect. In the context of Tate Britain, an institution displaying a huge variety of objects, this work challenges the traditional methods of museum display and thus the encounter one would normally expect to have in a gallery. Disrupting the norm, allowing and then denying the lights their function, Creed plays with the viewer's sense of space and time. Our negotiation of the gallery is impeded, yet we become more aware of our own visual sensitivity, the actuality of the space and our own actions within it. We are invited to
re-evaluate our relationship to our immediate surroundings, to look again and to question what we are presented with. Responding to the actual condition in which he has been asked to exhibit, Creed exposes rules, conventions and opportunities that are usually overlooked, and in so doing implicates and empowers the viewer.
1 Comments:
Hi!
I didn't know you even had a blog until you sent out an e-mail about it. I'll add you to my list.
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