The other day i visited the Royal Academy’s Master Artistic Research first year’s exhibition called When everyone is drunk it doesn’t matter how it looks. Well, let’s be sober about that. As an exhibition it doesn’t show much more than some basic developments, which is interesting enough as it bears a promise.
As such i found the opening sound work in the Academy’s hall by Clio Casadei the least intriguing. The work seems clueless and without any motive, which in itself shouldn’t even be the biggest problem, but Casadei probably needs more time to be clearer about her explorations.
Mirka Hodásová is clearly researching the visible and invisible and as a visual experience her work Not yet familiar is already quite interesting. She shows projections and fading photo’s. The whole construction gives you an idea of constant change in space and time. Using the dark and the light further research by Hodásová may lead to something impressive.
Three of the nine presented artists are involved in performances. When i visited the show i could only see some relics of these performances which is just as well, at least to me.
For instance Quinsy Gario’s relics of his performance To land rights are in themselves an autonomous installation. I could just imagine Gario’s artistic narrative with more installations without any performance in an impressive exhibition.
The same applies to the relics of the performance A Moment of Implosion by Eros Chien. The combination of the title, the vinyl on the floor and the chair made me wonder what a performance could add to such an intriguing image. It is clear Chien’s ideas, like Gario’s, start with actions, but it might well be that they need action only as a trigger.
However, the visible “tools” of Ingrid Verweijen’s performance Construction and deconstruction of the female singer really need the performance. The youtube like theatre promises to present something funny and probably interesting.
Two students use film in their presentations. Bergur Thomas Anderson shows in his video work Exposures of corridor travel at Westerpark spots in the park to sounds of practicing conservatory students in private studio spaces. The combination might be interesting, but Anderson’s presentation can only be interpreted as an interesting starting point.
To an extent that also applies to Sabin Garea’s combined video installation Hghknl, where Garea explores our present day concrete desert to try and find ornaments in its structure and in a way to reinvent traditional ornament making.
This is in itself an interesting subject which needs more research, maybe even in other materials.
Sepideh Jahanpanah describes her installation with pieces of “natural” wood on processed wood as It started with “Death” and achieved “Brio”. Now they are not separable anymore.
Life, death and rebirth are undoubtedly part of the installation. Hopefully its fine simplicity in its presentation is maintained in further research that may spread to other fields and more accomplished ideas.
Vera Mennens’ presentation, titled Monument for an almost country, is very attractive. Dealing with the once tiny state of Neutral Moresnet it gives a good start for further research in which Moresnet might become more than just a historical fact with some slightly sentimental reminiscences.
Altogether the show is a good starting point for artistic research of which the results will be eagerly awaited, at least by me.