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In The World at a Glance (2007), philosopher, Edward Casey talks about, ‘the intimate tie between the glance and the sudden and surprising.’74 The magic of astonishing moments, moments blinked into existence, frequently coupled with the human desire to archive or replicate these moments of beauty. In this chapter I discuss the work of four artists, works experienced, first hand. In each case the artist has utilised the ambiguous and dazzling qualities of reflective surfaces to great effect. Recall, as discussed in the Introduction, that it has been a priority within this research project to reference primary sources in terms of artworks: artworks researched, sought out, and experienced first hand in Australia, England, Italy, France, and the USA, rather than artworks viewed only as photographs incapable of providing the full experience. And recall Philip Fisher’s view that it is essential that the entire object and all its details are, ‘…unexpectedly, instantaneously seen for the first time…’75 for there to be the possibility of wonder. It is important, where large-scale installations are involved, to maintain Fisher’s view in order to fully experience such works and perhaps, if one is fortunate enough, to experience wonder. The particular works are Gerhard Richter’s, 6 Panes of Glass in a Rack, 2002-2011, Daniel Buren’s massive installation, Excentrique(s), travail in situ, for Monumenta 2012, Buren’s Écho d’échos: Vues plongeantes, travail in situ, permanently installed in the roof space of the Centre Pompidou-Metz (north-eastern France) and the collaborative work by artist Ai Weiwei with architects Herzog & de Meuron in the form of the 2012 Serpentine Pavilion, London. And, finally, an ongoing work (until death) by Christian Boltanski that focuses on the replication of short-lived moments of lived experience often (in my year-long experience of the work) relating to reflective surfaces. These small-scale moments are replicated for dissemination to a receptive on-line subscription audience across the world. These mirror reflective works demonstrate Casey’s point, the tie between the glance, the sudden and the surprising. The wonder inducing moment exciting in the spectator a desire to attempt to capture the experience in order to hold on to it past the flash of cognition located by the glance and the accompanying immediate visceral experience. Casey says:
A photograph gains its full haunting power from the fact that its image is continually recoverable. Even if we never re-perceive a given physical photograph, we know that its imagistic-pictorial content is available in an album or an archive, a book or a museum: each of us maintains it as perceptible for ourselves and others. Wherever we are the image is there, supported by an appropriate material thing to which […] we can gain access in principle.76
In the now, the present, the photograph is captured, most frequently, by the ever present eye (the iPhone or smart phone camera) in the manner Elaine Scarry, in the previous chapter, predicts.
74 Casey, ES 2007, The world at a glance, Indiana University Press, Bloomington, p. 215.
75 Fisher, P 1998, Wonder, the rainbow, and the aesthetics of rare experiences, Harvard University Press, Cambridge, p. 17.
While the image and the experience lingers it can only be held in the memory of the beholder until it eventually fades. In principle the photograph is more tangible, reliable and recoverable than memory.
Nabokov drew our attention to the ordinary shop in the high street. Ben Nicholson (1894- 1982), the British painter, found an ordinary shop window to be a beckoning site where he experienced an, ‘accidental and extremely short-lived unique moment...’77 Jeremy Lewison in his book Ben Nicholson, (1991), talks about the artist’s experience outside a shoe shop in Dieppe, France, called Au Chat Botté, or translated into English, Puss in Boots. The painter was travelling with the artist, Barbara Hepworth (1903-1975) at the time and as he looked into the window of the shop he experienced a moment of wonder. The subsequent painting titled Au
Chat Botté, 1932, encapsulating his experience on that ordinary day was to become a seminal
work for Nicholson, although at the time he was not aware of just how significant it would become. For the painter the work ushered in an entirely new approach to the organization of space within the rectangle. Lewison maintains it was the red painted sign on the shop window that initially attracted Nicholson’s attention and when the artist moved to look more closely he was excited by the sudden event that took hold of him.78 The author quotes Nicholson as saying:
…what was important was that the name was printed in very lovely red lettering on the glass window – giving one plane – and in this window were reflections of what was behind me as I looked in giving a second plane – while through the window objects on the table were performing a kind of ballet and forming the ‘eye’ or life-point of the painting – giving a third plane. These three planes and all their subsidiary planes were interchangeable so that you could not tell which was real and which unreal, what was reflected and what was unreflected, and this created, as I see now, some kind of space or imaginative world in which one could live.79
Lewison goes on to talk about particular aspects of the painting, Au Chat Botté:
The head in the painting is that of Hepworth reflected in the window but it appears to be resting on the table. The jug in the foreground, which could only be inside the shop, appears to be outside since its contours obscure some of the lettering. A pentimento displaying a guitar at the bottom right adds an element of mystery to this painting of drifting objects.80
77 Fisher, P 1998, Wonder, the rainbow, and the aesthetics of rare experiences, Harvard University Press, Cambridge, p. 25.
78 Lewison, J 1991, Ben Nicholson, Phaidon Press, Oxford, p. 13. 79 Ibid., p. 13.
The author is quoting Ben Nicholson, in Nicholson, B 1941, ‘Notes on abstract art’, Horizon, vol. 4. 80 Ibid., p. 13.
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Ben Nicholson, Au Chat Botté, 1932, oil and pencil on canvas, 92.5 x 122cm Photographer unknown
Seventy-seven years after the painting of Au Chat Botté I experienced, first hand, what Nicholson was talking about as I installed a mixed media work, Laughter Forbidden, in a shop window in Lorne, Victoria. The same factors that Nicholson experienced were evident in this site. However, instead of red text on the window, the Lorne Pharmacy displayed neat, black, sans serif text. Elements of my work would sit somewhere between the window text and a new ‘wall’ created by a text-filled curtain. It was my intention to create interplay between the existing text on the pharmacy window and the introduced text. For this task ‘Stencil’ was chosen, a typeface favoured by the Irish designer Eileen Gray (1878-1976). The subject matter of this work and the title were derived from Eileen Gray’s icon of modernity, E1027, the coastal house she designed with Jean Badovici between 1926 and 1929. Throughout Gray’s house various words and phrases were stencilled directly onto the walls as they were on ocean liners of the time. One such ironic stencilling was rire interdit(laughter forbidden).81 The words were not a warning to guests rather they an invitation to laugh as much as possible. Gray was referencing Voltaire82, the Enlightenment writer, historian and philosopher, who believed the only way to exist was to ‘laugh at everything’ as he demonstrated in his satirical novel Candide (1759).83
In daylight hours the Lorne Pharmacy window reflected the coastal tourist characteristics of the site. The wide unimpeded sky of the esplanade and the ghostly reflections of display
81 Constant, C 1994, ‘E-1027: the non-heroic modernism of Eileen Gray’, Journal of the Society of Architectural
Historians, vol. 53, no. 3, p. 277.
82 Voltaire was the nom de plume used by François-Marie Arouet (1694-1778).
83 Voltaire, May, G (introduction), Morley, H (translation), Walsh, L (revised) 2003, Candide (1759), Barnes and Noble Classic Series, New York, p. 109.
stands, placed on the footpath. Somewhere between the layers of reflections, the text on the window and the wall of text, the objects were fixed and any viewing of the window captured the spectator within the oscillating layers of reflections just as they had Ben Nicholson.
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Greer Honeywill, 2009, Laughter Forbidden, mixed media installation, dimensions variable Photograph John Best
In 2012 I was reminded once again of the Lorne Pharmacy experience and Nicholson. While observing the ocean from the vast window of a house at Rocky Hills, Tasmania, I noticed with a start a celestial landscape levitating in the sky above the horizon. This was not entirely an astonishing event rather a fleeting surprise because I knew exactly how the image had occurred – I simply needed to locate the factors to understand fully the transmission of this exquisite event.
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Celestial Landscape, 2012, iPhone image Greer Honeywill In the act of documenting, 2012, iPhone image Ross Honeywill
In the book, In Search of Lost Time, (vol. II, 1919), Proust talks about the emotional effect of a beautiful sunrise framed and reflected by the windows of the train in which he was travelling:
I was lamenting the loss of my strip of pink sky when I caught sight of it anew, but red this time, in the opposite window which it left at a second bend in the line; so that I spent my time running from one window to the other to reassemble, to collect on a single canvas the intermittent, antipodean fragments of my fine, scarlet, ever-changing morning, and to obtain a comprehensive view and a continuous picture of it.84
Reflections and reflective surfaces became increasingly important as a focus within this research project and as a means of exploring various forms of eye, the watcher and the watched and me…the ‘I’. On the subject of the mirror Leonardo da Vinci (1452-1519) in his notebooks wrote about the endlessness of reflection:
…if two mirrors be placed so as to exactly face each other, the first will be reflected in the second and the second in the first…and so it continues from image to image on to infinity, in such a way that each mirror has an infinite number of mirrors within it, each smaller than the last, and one inside another.85
As opportunities arose to conduct international research I looked at artists currently working with reflective surfaces exhibiting in London and Paris in 2011 and 2012. My aim was to explore the expressive nature of the reflective surface, its obscurity and openness, the reality and the metaphor and the involvement of the spectator. The first of these works was 6 Panes of Glass
in a Rack, 2002-2011 by Gerhard Richter (1932- ). Richter’s solo exhibition, Peinture, occupied
the Marian Goodman Gallery, Paris, in October 2011. The walls of the gallery were hung with Richter’s well-known, multi-coloured, finely striped, paintings and in the centre of the gallery the only sculptural piece functioned as a somewhat deceptive entity. The reflective surfaces of 6 Panes of Glass in a Rack appeared to gather together both clear and indistinct images of spectators, as if creating a montage. This montage then merged with slivers of colour reflected from the paintings to form a richly layered landscape of colour, shadows and reflections. This was the kind of effect Ben Nicholson experienced outside the shop window proclaiming the appearance of the magical landscape of layers as the, ‘…kind of space or imaginative world in which one could live.86 As I left the gallery I looked back – there was now nobody in the gallery and it was as if 6 Panes of Glass in a Rack was waiting patiently for the next spectator and the next spectatorial performance – the colour somehow drained from its surfaces.In June 2012, I saw
84 Proust, M, Scott Moncrieff, CK & Kilmartin, T (translation), Enright, DJ (revised) 1992, In search of lost time, vol. II (1919), ‘Within a budding grove: place-names: the place’, The Modern Library, New York, p. 317. 85 Da Vinci, L, MacCurdy, E (introduction & translation) 1955, The Notebooks of Leonardo da Vinci (circa 1517),
George Braziller, New York, p. 987.
86 Lewison, J 1991, Ben Nicholson, Phaidon Press, Oxford, p. 13.
this work again as part of the Gerhard Richter retrospective, Panorama, at Centre Pompidou, Paris. In the configuration of this exhibition the work was set between a window on one side and large paintings, brooding images in dark tones on the other. Intense light from the window washed across one side of the structure while the other seemed to disappear into shadow. Fragments of the outer structure of the building visible through the window became part of the work and spectators seemed to be momentarily relocated, placed at windows overlooking the city of Paris, when they were actually looking at the work or photographing their reflections. Richter has worked with glass since 1967 and since 2002 his interest has intensified. His panes of glass, whether fixed or moveable, act as a window through which to view the world in a wider context, freed from the restraints governing the picture plane and the objectification of the rectangle. Unpredictable refraction and reflection gather the spectator into the work – the spectator looking in and the reflection acting as a kind of resonance or looking back at the spectator. And chance was at play, as the spectator became performer creating ever-changing patterns through the act of perambulation and accidental association with adjacent objects or spectators.87 This was perhaps the more successful installation of 6 Panes of Glass in a Rack due in part to the interplay of natural light from the window.
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Gerhard Richter, 6 Panes of Glass in a Rack, 2002-2011, ‘Peinture’, Marion Goodman Gallery, Paris Photographer unknown
Gerhard Richter, 6 Panes of Glass in a Rack, 2002-2011, ‘Panorama’, Centre Pompidou, Paris iPhone image Greer Honeywill
The work of French installation artist Daniel Buren (1938- ) for Monumenta 2012,
Excentrique(s), travail in situ, filled the vast and greedy space of the Grand Palais, Paris. The
commissioned work creating for the spectator a thoroughly immersive, experiential, promenade in and out of circular coloured fields, punctuated by acute reflections in looking glass mirrors.
87 Edamura, T 2010, ‘Vitreous demeanour and Gerhard Richter’s moving glass’, Wreck, vol. 3, no. 1, pp. 13-17.
The spectators looked up at the glass roof of the Grand Palais through a maze of coloured circles and looked down to see the world in reverse with the sky and the dome reflected sharply in mirror pools across which they walked. The entire scene evoking Nabokov’s description of the moving men with the dresser and the mirror in his book The Gift. This work provided both amazement and pleasure to hundreds of spectators who shared the space with me on June 18th as I paraded north to south as the artist wished, along the full length of the building
– the spectator as performer in constant dialogue with the work. The internal space of the Grand Palais is so large that this becomes a walking assignment for the spectator. Walking and continually glancing in parallel with the internal architecture, which is, in turn juxtaposed with the installation. Walking to explore the pools of coloured light, the ‘city’ of transparent coloured circles and walking as a means of passage across the reflective mirrors. The presence of the unseen artist is ‘there’, constantly goading the spectator into activity. In turn the spectator walks, explores and photographs. Buren referred to the long, narrow, northern entrance as a ‘mouse hole’ leading to that moment of astonishment when the spectator walks beyond the canopy of transparent colour into the clearing to walk across an inverted world. Buren has been using colour and the reflective qualities of glass in his work since the 1960s referring to the mirror as a ‘third eye’88 – in this case allowing the spectator to see, simultaneously, what is in front and behind or above and below. Buren is no believer in the truth of reflections, commenting that the mirror:
…does not necessarily reflect whatever is there, but may rather show very specific things, those that only mirrors can show. I would even go so far as to say that a mirror never works in a purely mimetic manner, but that it shows something else. In addition, it transforms space and enables the spectators to see more things and in a different way.89
88 Gallais, JM 2012, Monumenta, Daniel Buren, << Excentrique(s)>>, work in situ, p. 9, viewed January 28, 2013, <http://agendacom.com/files/7b136ae710b39161d336bf33e314a2ce.pdf>.
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Daniel Buren, Excentrique(s), travail in situ, 2012, Monumenta, Grand Palais, Paris Photographer Stefan Tuchila and iPhone images Ross Honeywill
Today the artist works almost entirely in situ. In this way Buren subverts the autonomy of the individual artwork preferring to make works that respond directly to site. This means that the elements of conception, manufacture and display must be realized on site, rendering the work inseparable from its location. This is a method of working that implies the abandonment of the
studio tradition replacing it with a unique, living work that resonates within a particular space and no other, a work that is made extinct at the conclusion of the exhibition. The imperative for the viewing public to see the work while it is ‘live’ is much greater because the work cannot be exactly replicated in a different location. In his biography the artist uses the phrase ‘lives and works in situ’ as a means of communicating his manner of work.90
At the regional Centre Pompidou-Metz, Buren’s fascination with reflections can be seen in the monumental work, Écho d’échos: Vues plongeantes travail in situ, 2011. The giant mirror surface reflecting the laminated, larch and spruce roof beams, a critical aspect of the museum design by Japanese architect Shigeru Ban (in collaboration with French architect Jean de Gastines). A viewing platform facilitates the experience of the spectator enabling one to look down on