anna's gallery/visit writeup

Aside from the unrelenting wind, it was a fun and informative outing. To me, the most enjoyable was PS1. The space makes smart use of an old school by leaving many of the rooms intact. You enter not knowing what to expect from room to room. It's what a true school should be, a place of curiosity and discovery.

There were three pieces that were particularly effective because the illicit an element of surprise in the ordinary.

The first piece was James Turrell's Meeting, 1986, a permanent site-specific installation. It encompasses one of the former classrooms. When you first walk in, there are spare wooden bench seating along each wall. Just above it, lights are strung that create an orange cast on the walls. When you look up, there is a gaping hold, though a very precise rectangular one, where the ceiling used to be. We're all familiar with the sky, yet we don't expect to see it as we walk into a room. visitors sit along the benches. Everyone is sharing the same space, yet the effect is very different than say, sitting in a subway car, or even sharing space on a beach or park. The first thing I felt was the air, at times refreshing, and at some moments, like a very cold sting. But it was the natural outdoor air seeping into an 'enclosed' space that brought this feeling of calm and peacefulness. Also to sit beneath the sky, makes you aware of our connection to verything. James Turrell is considered a pioneer in his use of light and natural elements in unexpected ways, and this piece was powerful because it allowed you just to be very much present in the moment.

The second installation, Leandro Erlich's Swimming Pool, 2004, was equally strong. It is actually a two part installation. When you enter the first floor, a full size, though somewhat narrow pool complete with ladder and deck flooring await you. When you approach the pool, you notice people milling about at the bottom of the pool, fully clothed and breathing. It is unexpected and surprising, but in a very playful way. You realize thewater is not very deep, but rather only about 2" on top of a plexi sheet. When you go to the lower level, you enter the room that seves as the interior of the pool. You look up above to the surface, as visitors gaze down. The lower level is a bit claustrophobic, just the strangeness of feeling you are below water, yet fully clothed, not wet, and you don't have to hold your breath.

The third installation is one from Olafur Eliasson's Take Your Time exhibit from last year. Eliasson has been compared to Turrell with his take on light, reflections, and nature, though in a less sublime way. This piece consists of a large circular mirrow on the ceiling that roates. I wanted to walk beneath it, because I think it would give a better sense of the movement, but when I was there everyone was lying on the floor. I think hte power was more from the people's reaction to it, than the actual piece. To me, it reminded me of the first really warm day in spring , where everyone congregates outdoors, just to soak up the moment. It just became that sort of happy, relaxing space to be in.

I wanted to mention also, two works from the Neo Hoo Doo exhibition because they just really caught my attention. The first was The Lonely Soul, 2006 by Pepon Osorio, which is an assemblage consisting of crutches, a wooden house-like structore supported by crutches, etc. Though the materials are recognizeable objects, they add symbolism. The overall feeling it gave me was issues of assistance, of poverty of the oppressed and suffering. The wheelchair wheels are fully intact, so there should be mobility, yet those type of wheels are for support. The 'house' is supported by crutches. Either the person inside has surrendered to apathy, or the assistance is inadequate. The other piece was Jose Bedia's The Things That Drag Me Down, 1998/2008, a mixed media piece that contains a torso silhouette on the wall, with chains attached to its' shoulders. From this, tow long narrow boats carry liquor, cigarettes, etc. It brought to mind the slave trade and trading in general. The workers who provide the products never see the profits, but rather bloated markups by distributors enjoy the wealth of the workers' labor. This touches on distribution of wealth. The hopeful aspect of the piece is that the tose is upright, appearing resilient, the chains are not overly oppressive, but they are still there. It reminded me of the human spirit, despite whatever hardships, the figure/spirit remains unbroken. This exhibit dealt with issues on spritituality and also humanity. It takes its' idea from Ishameel Reed's poetry, where he states "every man is an artist, very artist a priest." I felt it was a very timely reminder of our own power to change and heal, both ourselves, and one another.