Back
Back
BELGIUM / Hornu: Like the Wall Awaiting the Ivy
by Modem
© Modem

until Sunday August 29 2021

MACS - Musée des Arts Contemporains
T : +32 (0)65 613 850
rue Sainte-Louise, 82
7301 Hornu
Belgium


https://www.mac-s.be/en/exhibitions/wall-awaiting-ivy


Like the Wall Awaiting the Ivy
Fiona Tan / Daniel Turner / Oriol Vilanova


Occupying two identical rooms in the former “Engineers’ House”, of which only the outside walls of its original architecture now remain, the exhibition proposes a poetic, critical meditation on the theme of ruins, based on an installation by Oriol Vilanova belonging to the Museum’s collection, a double projection of films by Fiona Tan and a sculpture by Daniel Turner.

By making use of supports like the postcard and gelatin silver film, which have become obsolete through the rise of digital technology, Oriol Vilanova and Fiona Tan thus propose devices that slowly draw the spectator’s attention away from “the picture of the ruin towards the ruin of the picture”. For Vues imaginaries, this awareness of the duration of images is the result of a work in progress based on the exploration of flea markets, the selection and classification of his discoveries, the choice of the device to present his collections, and finally, the “spaces” that are waiting for future discoveries.
The artist-collector thus envisages an economy running counter to the industrial production of snapshots, in his search for “difference in repetition”. In Ruins, the preservation of technical defects in the cinematographic image, notably the grain of the photograph and scratches on the film, enable us to intuitively capture the duration by escaping from scientific time and our lack of imagination, echoing the effect of gaps in the actual ruins: “Things which were once inside, private and protected are laid bare and revealed,” notes Fiona Tan in relation to this reversal of the viewpoint. “The rooms, walls, corners and crevices are exposed to the elements. The building has been turned inside out, so to speak. I become aware of negative spaces and of what is missing. Like the terra incognita, the blank spaces on a map, each space or hollow is a puzzle and can point to potential creative possibilities.”

By exploiting such “negative spaces” each in their own way, according to an entropic vision of a world that is evolving in the wrong direction, the three artists take a doubly critical look at the paradox of modernity driven by obsolescence, and at the duration of works, “like the wall awaiting the ivy”, awaiting a future.

© Modem