When Contents Become Form
Solo exhibition award from selection of PLAN.OPEN Hidden/Exposed Open submission group exhibtion curated Nimrod Vardi and Caroline Jane Harris.
When Contents become Form is a sculptural installation constructed from gallery press releases, shredded on security level 2 shredder and reassembled and hung to create a hovering white cube above a reflective plinth.
The installation is placed within a square gallery, footprint, that the viewer is invited to walk around and experience the illusion of solidity, fragmentation, focus and unfocused vision. The work shifts the power relationship of the authority and role of the gallery press release.
The work is derived from the experience of visiting galleries and explores the relationship between the viewer, the artwork and the a4 press release, so prevalent in many galleries. It is the both the physicality, content and purpose of these documents that intrigue Jeannie.
"The press releases often appear as a veil to the exhibition,
condensing and compounding a set of thinking and testing knowledge, and references. They are tools of enculturation and reinforce the power relationship between gallery (artwork) and viewer. In When Contents Become Form, these statements, are shredded - reprocessed, retaining snippets of words, alluding to their history, and juxtapose varied documents. The resulting installation presents alternative views, from a solid white cube that drifts in the draft, to tunnels that can be seen through. " JD
The title,'When Content's become Form', is a reference to an exhibition originally presented in 1969 as “Live in your Head: When Attitudes Become Form,” and represented in 2013 under the title ‘When Attitudes Become Form: Bern 1969/Venice 2013” by The Fondazione Prada at Ca' Corner della Regina in Venice 2013 in the Venice Bianale.
The exhibition was originally curated by Harold Szeemann and explored themes of curatorship and relationships between the artworks and elimininating the need for outside context.
“Harald Szeemann, a curator capable of thinking beyond the limitations set by critics’ labels and the theoretic associations of his time. Characterized by a new approach where everything was left to the liberating process of doing, where the viewer was not impeded by boundaries, protection systems, pedestals or perimeters, the exhibition became a dialectical field of encounter between the individual artists and the curator, between the event and the architecture: a place where the works formed links with each other, in a kind of continuously-evolving organic weave.” Fondazione Prada website