A Hayward Touring Exhibition from Southbank Centre in London, curated by Chris Fite-Wassilak. This exhibition is open until Sunday the 17th of January.
Quiet Revolution, the new exhibition at the Djanogly Art Gallery brings together a group of seven internationally renowned artists in the name of minimal aesthetics. This revolution is a revolution of our perceptions, transforming how we view what commonly surrounds us. These artists unconventionally use commonplace materials, strings, buckets, mirrors and cloth that interact with one another through a symmetric parallelism and equilibrium. In this way quiet, subtle expressionism is often able to evoke more powerful feelings than loud, mainstream thoughts, it has the ability to reach the depths of our thoughts.
A masterfully curated exhibition, Quiet Revolution brings out the best of all those artists. Belgian Joëlle Tuerlinckx’s Water Drops Line is one of the artworks able to catch the most attention. A string under high tension crosses part of the room, floating in mid air, capturing drops of water which reflect back upon its revolutionary surroundings. Tension increases with the works of American Mitzi Pederson, centred around the dynamic use of woods, nails and threads, creating physical siphons of light and gravity. These fundamental forces of physics and equilibrium escalate to the nearly impossible with British Matt Calderwood. Whilst the striking poetic conceptualism present in Icelandic artist Hreinn Fri Finnsson perfectly mingles with the rest of the unusual artworks by Margrét H. Blöndal, David Beattie, and Alice Channer’s performative use of fashion and textiles.
White walls and artworks scattered irregularly around the room. This is what hits the visitor first. The artworks are quiet, motionless objects which ironically enough, are able to transmit much more than any loud sound. David Beattie is perfectly able to convey such emotions in displaying an old TV sitting on the floor, switched on, with interlaying grey lines crossing its screen, and no sound coming from it. Although every single artwork speaks for itself, all the artworks also have a common voice, which perfectly portrays this central theme of a ‘quiet revolution’. The atmosphere is not one of finished artwork, but rather experimental art, and an open-ended interpretation of what surrounds us, leaving us to interpret those objects in the way we want to see them.
Quiet Revolution is one of the most subjective exhibitions I have ever seen. Like most minimalistic art, interpretation is wholly dependent on the viewer. This time words are not enough. What those silent artworks express is too powerful to be spoiled by the use of language. Entering into the Djanogly Art Gallery is like being projected into an unsure future. You really need to visit the exhibition to evaluate for yourself what really is it about, and to let yourself be transported into the magic world of equilibrium and minimal aesthetics.