Taking its name from the Donald Barthelme short story The Shower of Gold, an absurdist tale of a struggling sculptor coerced to appear on a television game show in order to pay the rent, this exhibition presents a subjective overview of the potential forms and working methodologies that speculatively demarcate the boundaries of what might be considered a ‘sculptural practice’. Mirroring Barthelme’s sculptor’s fragile psychology and on-air disgorging, the presentation also maps a web of intertwined reference points accreted through the daily practice of considering objects in the context of art.
Incorporating loans from a number of public and private collections, from resolved artworks, films and design objects to proposals, working plans and other archival material, the exhibition explores materiality, generative processes, modes of encounter and narrative and structural agency.
A PDF of the publication produced for the exhibition can be downloaded by following the link. A symposium, Form and Feeling, in collaboration with Camberwell Space and the CCA Graduate School was held on the 30th October, 2013. The programme of this event follows below.
Cast in order of appearance (artists in the exhibition):
Archive material relating to the ‘A-Course’ , St Martins School of Art, London, 1969-71
Work by an anonymous psychiatric patient from the Koestler Trust
and reproductions from Dickinson’s Illustrated Catalogue of the Great Exhibition (1851)
The publication includes a full list of thanks and credits for the works exhibited.
Form and Feeling – a symposium
30th October 2013
2–5pm, Wilson Road Lecture Hall, Camberwell College of Arts
To accompany the exhibition this symposium utilised the works exhibited and the nature of the curatorial framework to build an afternoon programme of talks, performance, screenings and discussion, focusing on the (physical and temporal) fabrication, display and narrative agency of the sculptural object. This event was a collaboration between Camberwell Space and the CCA Graduate School. For further information contact: firstname.lastname@example.org
Homo Faber and Worldmaking: A Very Short History
Social historian of science and technics Iain Boal considers – in the light of various works juxtaposed for exhibition at Camberwell Space – the unsettled relation between tools and the human, piece and totality, bricks and the workmanship of risk, form and frame, the arts of embellishment and ways of knowing, autonomy and the object-world of capital.
Putting it in the window: some thoughts on display mechanisms and enclosure
Artist, curator of the exhibition In form express and admirable (in a sense lying, in a sense not) and current Goldsmiths PhD candidate Mike Cooter looks at the intertwined relationship of art, design and architecture with regards to display strategies, the structured encounter and acts of enclosure.
The Last Movie as infomantic object
Artist and Goldsmiths PhD candidate Annabel Frearson will discuss how Dennis Hopper’s 1971 film The Last Movie, in its quasi material non-existence, becomes a substantive allegory for the combined birth of neoliberalism and the turn of the dispositif to produce effects of ‘infomanticism’.
2.00– 2.15 – Welcome
2.15 – 3.00 – Iain Boal, Homo Faber and Worldmaking: A Very Short History followed by a short period for questions arising
3.00 – Recording of Charles Bukowski reading When all the animals lay down, 1970 (2mins)
3.02 – 3.40– Mike Cooter, Putting it in the window – some thoughts on display mechanisms and enclosure and questions arising
3.40 – 3.47– Reality Properties: Fake Estates, Jaime Davidovitch (with Gordon Matta-Clark), 1975 7mins, courtesy Electronic Arts Intermix.
3.47 – 4.00 – Break
4.00 – 4.45 – Annabel Frearson, The Last Movie as infomantic object and questions arising
4.45 – 4.55 – Juliette Blightman, Jealousy, a performance
5.00 – Close