The Copeland exhibition have given me some impressions, from discussion and communication to proposal submission, risk assessment, exhibition set-up and completion, it is a very complete and rigorous exhibition.

For the artist, the exhibition is a good platform to bring the work to the public, pushing the artist to engage with social issues and connect with the public. I think the curator has a very important role to play in the exhibition.

3B6D738C-5303-4BA2-938B-5670B9BE16C6-32799-00000E5DAC7C79F0.JPG

I found the discussion with Dan Howard-Birt in the Copeland gallery exhibition very valuable, and I tried to look at the exhibition again from the perspective of a viewer.

My favourite part of the whole exhibition is the first gallery at the entrance, there are 3 sculptures all made up of two linked THINGS, using them to divide the gallery into 2 areas. Material, touch and feeling are my key words for this gallery.

894F6061-A732-46D6-91B1-7DCAE6B8DA3F-32799-00000E5DA41126CC.JPG

Coming back to the areas of my work, the first feeling is the richness of colour, the sense of space, the sense of storytelling, the landscape, and the elemental echo of the water surface that appears in all three pieces. There are some indoor and outdoor spaces where the viewer can experience the connection between the works and provoke some thought.

"Obrist: How does McCargill's thematic exhibitions avoid the general idea of overwhelming the work?
Hoppus: For the most part she opens and closes.
OBRIST: You have also mentioned that her exhibitions are sometimes almost devoid of design?
Hopps: Yes. She disregards design ideas, or steps outside of a particular aesthetic sensibility. Earlier, she had curated a Rothko exhibition in Houston. On that occasion, she went against the grain and put beautiful flowers - fresh flowers, and cultivated beds - on the entrance way. She just wanted to remind everyone: don't rush to ask why the flowers are that colour, just relax and enjoy. It was so much fun! She wants to tell the audience: don't be confused by Rothko's imageless work, there is no theme if there is no theme. What is the shape of a flower? It's just the colour, it's just the flower." p21

reference
Obrist, H. U. (2012). A brief history of curating. Beijing；jincheng.

back top

reference Obrist, H. U. (2012). A brief history of curating. Beijing；jincheng.

reference
Obrist, H. U. (2012). A brief history of curating. Beijing；jincheng.