Sign in to digital edition
Friday 6 Dec 2013
A walk in Venice can still produce unexpected encounters and this is how I happened upon Scotland+Venice tucked away on the edge of the Cannaregio. When I saw the pop-up banner in Campo Santa Marina, I remembered how I had been looking forward to seeing this exhibition. I made note of the trio of artists who make up the exhibition and remembered some of their previous critically-acclaimed shows. At the top of the stairs, one enters a central space with information on the exhibition, from which each artist has 2 or 3 small rooms. Hayley Tompkins's installation of photographic prints and painting works (and various accessories) are placed on the floor, countering the fact that the decorative walls carry their own unique character.
Haley Tomkins, Digital Light Pool, 2013
This approach is powerful in the second room where there is more interplay between the works and the design of the floor.
Haley Tomkins, Digital Light Pool (Stone), 2013, against a better "floorground"
Meanwhile Corin Sworn presents us with her father's archive of slides whose subjects she revisits with a film and some photographs. A ceramic work opens her section which one could say softly maps out a numbers of the issues raised by the film. Strong and sweet in intent, the work may feel a bit too personal for some.
Corin Sworn, Untitled, 2013
The highlight of the pavilion may be Duncan Campbell. He first presents a 30-minute film by Alain Resnais and Chris Marker before his own 50-minute response. The smiley invigilator has the timings, and so I managed to see a bit of each film. While I appreciate the format and paying homage to Resnais and Marker, it is unlikely that most visitors can give 80 minutes to Duncan's whole presentation, which is a major problem. What I saw of Duncan's own work was intriguing but, selfishly speaking, I wished that he would have allowed both films to play simultaneously in their different rooms so that I could have seen more of his own work, especially the section featuring the Michael Clark Company.
Duncan Campbell, It for Others, 2013
Worth seeing (if you have the time)
Aaron Cezar is the director of the Delfina Foundation
Wed, 29 May 2013 18:01:00 GMT
All comments are moderated. If you would like your comment to be approved, please use your real name, not a pseudonym. We ask for your email address in case we wish to contact you - it will not be
made public and we do not use it for any other purpose.
Subscribe to The Art Newspaper...
Advertise in The Art Newspaper Network...
Sign up to receive the weekly email newsletter...
Search through The Art Newspaper Archive...
Contact the team at The Art Newspaper...
© The Art Newspaper