Just outside the doors of the Ikon this sculptural piece creates an architectural space that we are encouraged to walk through in order to enter the main gallery space. To me It resembles a piece of cheese, whether that was ever intended I doubt it. The nude stone reflects the buildings that surround us as well as the main architecture of the Ikon.
The Ikon emblem glows from within a cave like space, dark and moody. This is stark in contrast to the rest of the gallery space which is bright and open. The individual dot-lights that create the text are balanced by the stone sculpture wall outside with its punched holes. When you take a step back and view the Ikon logo, through the wall, you see small warm coloured light peering through.
Information on Michel Francois' works on show at the Ikon currently.
"Ikon presents the first UK survey of work by Belgian artist Michel François, comprising sculpture, film and photography. It exemplifies the artist’s conviction that the meanings of a work of art are determined through its combination with others in relation to an exhibition space. Visitors to Ikon encounter numerous pieces to be read as a whole, integrated with the entire building.
The exhibition title, Pieces of evidence, refers to François’ fascination with a netherworld, drawing comparisons between the ingenuity of artists and criminals. The key installation here involves a projected film in which we see the hands of a magician skilfully examining everyday objects – drinks cans, cosmetic bottles – before revealing hidden compartments and illegal substances within. The objects themselves are exhibited in vitrines nearby. Another work, Stumbling Block II (Wall) (1989), is a large rectangular block of polystyrene secured to the wall with strips of brown tape, a sculptural translation of a convicted smuggler’s failed attempt to conceal drugs by strapping them across their body. An art object is likened to contraband.
The idea of crossing international frontiers – illegally or otherwise – is conveyed by Surveying(1993), a video of an inchworm walking over a map of the world. This funny creature signifies the artist’s free spirit with respect to art as much as his geographical itinerancy, a kind of energy that spurs us to keep moving, keep looking, and keep asking questions. Likewise,Golden Cage 1 (2008–2009), considers the notion of frontiers. A large free-standing steel box, from which A4-sized sections have been uniformly cut, it is a structure on the verge of collapse. It is a cage with walls thatresemble the gilded left-overs of a manufacturing process, with cut out shapes scattered within. François presents this work as symbolic of human migration across the Mexican/US border, the hollow dreams of finding a better place, the cage being desirable in a way that its contents are not.
A further work, Self-Portrait Against Nature (2002), shows the artist, seen from above, walking around on a hard concrete floor and smoking while empty wine bottles drop and smash around him. It suggests a kind of solitude and self-destructiveness that throw any hints of joy into sharp relief. Broken Neon Lights (2003), has a similar edginess as François stamps his feet through a path of neon tubes, laid widthways, resulting in lots more broken glass. The action is transgressive and the feeling one of anger.
The exhibition is accompanied by a new publication featuring a text by writer and critic Martin Herbert."
Further Images taken from my visit:
This work reminded me somewhat of Chiharu Shiota's memory installations. The balance of magnetic elements is fragile and circumstantial. If a visitor was to force a piece out of balance the surrounding areas would collapse. This intricate balance creates a sharp and precise sensation within the space. The piece feels mathematical and challenges us to view the physics of the piece. The large square frame reflects the shape and dimensions of the room and creates a walkway around itself through its perfectly central placement. This encourages the viewer to walk the full way around the piece, taking it in from all angles.
this large scale piece again reflects the shape and dimensions of the space, as though created specifically for this room. From the textured black ground small cacti protrude upward surrounded by what appears to be an explosion of gold monkey nuts. Toward the far end of the piece a large block of glass sits in a manner that provokes the image of a melting Ice cube. The message in the piece is unclear to me and there was no write up to inform us of its purpose or meaning. However, in combination with its surrounding canvases, of which there were 5 displayed on the walls a space was created that seemed to stretch on and outward beyond the walls of the gallery. They appeared like windows into a black desert. As we see the floor work as the closer space.
This intrigued me, as the use of space becomes integral to that reception of the work.
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