Lisa Le Feuvre on curating, sculpture, and Making work


Curating. Curators need to always talk to artists. Why this show, why here, why now?

On Henry Moore.
What would he think of the institution being run by someone who is now saying we need to move beyond Moore? She says that remembering he was a radical artist, pushing things in his day, so he may well approve.

Sculpture is defined by gravity, by the light that falls on it, by the space it occupies. Scale. Space and depth. It has to be encountered. Pedestrian space. Pushing these and challenging them today is relevant.

Robert Ryman. Grounded in painting.

Karla Black, grounded in painting.

Applying those principles of sculpture to them would be an error.

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The place work occupies is relevant to the work. Today the place it is made or conceived- the studio- is increasingly irrelevant. It is an intellectual activist.

Check out ubuweb for Fillieu’s whispered history of art.

Making the perfect 2013 artwork is simply replicating the idea of what artwork is. Moving the thinking on would require thinking about what is it going to take to be able to leave the studio and communicate to people.

LF believes that art does actually belong in an art institution. This is the place to look at it because it is the correct conditions to see it in. It brings a set on conventions and cannon to the experience. You enter the space prepared to engage in that way.
Eg showing RF in the HMI is relevant engaging with the solidity and seriousness of the space juxtaposed with the flippant fragile nature of his work.

The crisis of the encounter today. The physical reaction to the encounter is paramount. Looking online does not count.

Belief in art. Belief has to travel with doubt. Artists must believe in what they are doing but they also need to proactively bring in doubt. Eg Carl popper talks about falsity of real??
We gamble with doubt and failure. The studio is a private place where you can try things out which might be terrible. Just like how science, the CERN exists to find something it hasn’t found yet.

Sculptural thinking references scale and depth and time and plane. Eg Picasso collage from 1913.
Activity of making an exhibition is a proposal for thought. Reexamining set of ideas or set of thinking can be applied to existing works, proposing a different way of seeing them. Exhibitions include work which has to be good neighbours. They need to interact, discuss, not boring, but not aggressive.

How do you know when you know an artwork well enough? You can never know. In some ways you can never see it enough, in other ways it will become so familiar it becomes decoration. Sometimes things need to leave and return for you to really see it again. Similarly, seeing the same work over and over in different shows offers the opportunity to interpret it in different ways.

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