The Daskalopoulos Collection, Keeping it Real: Act 4: Material Intelligence @ Whitechapel Gallery

Whitechapel gallery showcases the fourth chapter (Act 4) of the exhibition tetralogy titled ‘Keeping it Real’ from the D. Daskalopoulos Collection, Greece. The exhibition includes works of the following eleven artists presenting works that accord with the title of this chapter, ‘Material Intelligence’: P. Chan, S. Durant, A. Herrera, M. Kippenberger, G. Kuri, R. Neuenschwander, C. Noland , G. Orozco, E. Partegàs, S. Price, K. Walker.

The artists in their attempt to create a link between art and everyday life, used an array of techniques and media. Amongst them, a very good example is the film of Rivane Neuenschwander showing ants compulsively consuming a map of the world rendered in honey. The high-speed motion of the video reflects the rapid change of the world by elements not always visible with a naked eye. It also suggests the significance of collective work and productivity in a wider context or scale. The life size ‘Moon Tree’ by Gabriel Orozco with each leaf carrying a paper moon is a profound exploration of the possible relation and connection between low quality material and the universe. The graffiti work on a large mirror by Sam Durant demonstrates the correspondence between avant-garde art, anarchism and politics.

All artists that have been selected for the last part (Act 4) of this exhibition establish through different platforms and channels certain aspects of today’s life with emphasis on politics, consumerism, materialism, power, economy. The previous three chapters presented between June 2010 and early March 2011 included works by influential artists such as M. Abramović, L. Bourgeois, M. Duchamp, S. Lucas (Act 1: The Corporeal), D. Hirst, N. Kessanlis, D. Roth (Act 2: Subversive Abstraction) and M. Hatoum (Act 3: Current Disturbance). The presentation of the Daskalopoulos Collection offers the great opportunity to a wide spectrum of art enthusiasts to see and appreciate artwork not so often available to the public eye.
|Kostas Prapoglou