The full swing of unfolding dimensions
Recently I have come across two rather interesting art reviews; Louise Bourgeois: “Imagination Unfolds in All Dimensions” By ROBERTA SMITH SEPT. 2017 and “In full swing: Tate’s Turbine Hall turned into adult playground” By MARK BROWN OCT. 2017. Both articles discussing these two sets of artist’s latest pieces and in both cases I have seen a similar thread of narrative running between both their works.
Superflex’s instillation within the Tate is divided into three sections;apathy, production and movement, which are represented through the construction of 22 three person swings, connected by an orange line, carefully constructed to ensure that visitors don’t kick other’s in the head. There is also a small factory where visitors can assemble swings, addressing the issue of capitalism according to the Superflex curators. Visitors can also relax in the turbine hall, where a large mirrored ball swings from the ceiling, hypnotizing those below into a consciousness of meditation, encouraging them to address their own individual issues, taking a moment out of their day to meditate and change their current negative state of being to a more positive state of mind, but if not, curator Rasmus Nielsen ensures visitors are aware that they’ve made sure the carpet is very thick and extremely comfortable, so you can come here for a rest and take a nap.” Superflex emphasis the instillation was curated in the hope of creating a sense of community, suggesting to society that the diagnosis to bigger issues such as capitalism and the individual is community, the act of working together and above all else, having fun.
This sense of looking inward, and meditating on one’s inward ‘demons’ so to speak, can be seen in carried through to Louise Bourgeois’ ‘Imagination unfolds in all dimensions’. Louise Bourgeois stands tall among the greats, such as Vincent Van Gogh, Georgia O’Keeffe and Frida Kahlo. Her latest exhibition is neither linear nor media-centered, but is arranged thematically, with roughly 300 works, prints, engravings, etchings, silkscreens and some illustrated books, along side 23 sculptures. Many of her works were drawn out of the depths of the artist’s attic at home, as she was known to never throw anything out, never self editing in the 91 years of curating. All of her work seems to evolve and follow a theme of family, betrayal and rage, which seemed to stem from an early childhood trauma when her father cheated on her mother with her adored tutor. Often Louise Bourgeois’ work seems like a self analysis, a running personal diary reminding me that it doesn’t matter where life leads me, good or bad, nor does the low points in my life define who I am but rather it is up to me to take this situation, these negative experiences and convert them into something positive, changing something incomprehensible to something understood and studied.
