Directly opposite Bollinger’s monument to verticality, two slabs of marble, incised by Guyer and painted with oil, borrow the plinth’s pose to lean against a gallery wall, supported by a horizontal shelf that fits neatly between a corner and a pillar. One slab is very white, the other streaked with a fissure of gray that mimics patched cracks in the gallery’s concrete floor. At the centers, Guyer’s idiosyncratic, invented shapes are black portals, lightly outlined with the scratches of incisions, or a halo of red paint. To the left, the lightless holes in Interface’s brick wall become cousins of Guyer’s shapes.
Which brings us to the final piece, a third movement in the suite of Threshold: up, across, down. Resting unevenly on the floor is Bollinger’s Line of History, a cast bronze sculpture made while the artist was in residence at the Mills College Art Museum, researching the Julia Morgan-designed clock (and bell) tower at the school, El Campanil.
Previously displayed on a metal stand, its two protrusions then functioned as a way to stay aloft, but also allowed the sculpture to become an instrument in an evening of musical performances on the Mills campus. In that context, Line of History was a kind of bell. On the floor of Interface, it holds the residue of such activity, but it also looks like something dredged up from the ocean floor—two candlesticks encrusted with barnacles.
It’s impossible to view this show without a certain amount of wistfulness, as if we’re already looking back on it from a future in which Interface is closed. The lasting materials of Bollinger and Guyer’s works do little to dispel that sensation. The bronze and marble could be impossibly old, and will persist for generations to come. The show is already a relic.
For the culmination of everything—Threshold, Interface itself—L’Heureux has commissioned choreographer Stephanie Hewett to create a movement piece, a video of which will be released on the final day of the exhibition in lieu of an in-person performance. So we will wish Interface a ghostly, distant farewell, channeling ourselves into Hewett’s physical response to this culminating, elegant exhibition.
‘Threshold’ is on view Saturdays, 11am–4pm by appointment at Interface Gallery (Temescal Alley, 486 49th Street, Oakland) through Sept. 30. Details here.
"interface" - Google News
September 25, 2020 at 01:20AM
https://ift.tt/33UIHaF
Interface Marks its Final 'Threshold' with an Elegant Two-Person Show - KQED
"interface" - Google News
https://ift.tt/2z6joXy
https://ift.tt/2KUD1V2
Bagikan Berita Ini
0 Response to "Interface Marks its Final 'Threshold' with an Elegant Two-Person Show - KQED"
Post a Comment