June 25, 2018 § Leave a comment
Yoko Terauchi arrived from Japan the other day, and in her luggage was the sculpture she made last year called Pangaea. It is made of two sheets of paper 24cms square. They are both marked at the edge with a coloured pentel pen. One is placed on the wall, and the other is wet and formed into a sphere about the size of a ping-pong ball by squeezing and tightening it in cling-film, and being left to dry completely.
This descriptive mundanity of the work of course completely detracts from its purity, and it is one of the most purely abstract things I have seen. It is a serial work, in as much as there are several colours in the pentel range that she will use to make the work, perhaps as many as twenty.
Because of its simplicity and scale, it is quite difficult to know where the work belongs. Certainly the ‘gallery’ might be too demonstrative, the display too gestural , which is what I have come to think of such places in recent times. And my fear is that the world is too busy to see things of such accomplished simplicity, too noisy for reductive thinking.
Well done, Yoko: it stays in the mind , and to paraphrase Berthold Brecht and Sol LeWitt, and once you have understood it, you own it!
June 24, 2018 § Leave a comment
I’m rarely in Paris without remembering Reinhard Mucha’s Wartesaal seen at Centre Pompidou in 1986, in what was the big open space just off the corner of Rue du Renard.
There were several very large cumulative works in his retrospective of the time, stacked furniture, ladders, dissemblies of rooms, re-makes. But the one piece that really struck me, an entire room in itself, was The Waiting Room built between 1979 and 1982 in Dusseldorf by Reinhard Mucha, and modified in 1986 for this exhibition. It is made of made of a system of stacks of drawers in a what look like dexion supports, butted and bolted together, intersecting at right angles, and incorporating a cumbersome gothic wardrobe. This in itself gave the whole installation placement, and was the sort of accoutrement you might find in any isolated railway station across the network. At the same time it anchors the piece from being completely self-enclosed, and gives it its veiled narrative.
There are eleven of these wheeled shelving units, each with twenty two drawers. In each drawer is the name of a station in Germany, painted on boards, each of them of six letters, 242 place-names in total, taken from a 1948 freight directory first published in 1943. They are rendered in the modernist type of the German rail system
Because of the need to open the drawers, you are passively invited to examine and move name-plates to a lit table in the middle of the piece, and in the hue of the fluorescent strips running at the top of each unit and the wardrobe.
In its nostalgia, its soulfulness, Wartesaal embodies the whole journey of Europe, even if taken from one particular place, almost as a cross-section of it. It also begins to use the materials of Reinhard Mucha’s construction in a more abstract, less narrative way, and forms the basis of much of his later work in which these place-names continue to be used.
It is as present for me as the Eiffel Tower, even if it has not existed there for thirty years, but whenever I turn that corner from Rue du Renard into Place Beaubourg, I am amongst it.