HIGHER BEINGS, 2012
Postcard, paint.
Installation shot at Dublin City Gallery, The Hugh Lane.
Fixing a postcard of a Sigmar Polke painting to the gallery wall, which bears the text “Hohere Wesen befahlen : rechte obere Ecke schwarz malen! / Higher beings commanded: paint upper right hand corner black!”, the black area of the top right hand corner of the card was extended onto the gallery wall with black paint.
The intervention was articulated in a corridor which functioned as the entrance to a black box space where the film Mount Analogue Revisited was being screened. An autonomous work, it also functioned as a poster for the film.
The work addresses the concerns of the film which also focuses on the concept of higher beings. But it also takes account of the two adjoining spaces to the corridor, one, a black box in which the film is presented and the other, a white cube for the additional works in the exhibition. Within this binary structure, suggestive of day and night, or lucidity and obscurity, Walker and Walker introduce a third element at play, a consideration of the notion of a threshold space; which brings together the before and after in a becoming, instead of separating them.
See also The Owl of Minerva; In the air
Postcard, paint.
Installation shot at Dublin City Gallery, The Hugh Lane.
Fixing a postcard of a Sigmar Polke painting to the gallery wall, which bears the text “Hohere Wesen befahlen : rechte obere Ecke schwarz malen! / Higher beings commanded: paint upper right hand corner black!”, the black area of the top right hand corner of the card was extended onto the gallery wall with black paint.
The intervention was articulated in a corridor which functioned as the entrance to a black box space where the film Mount Analogue Revisited was being screened. An autonomous work, it also functioned as a poster for the film.
The work addresses the concerns of the film which also focuses on the concept of higher beings. But it also takes account of the two adjoining spaces to the corridor, one, a black box in which the film is presented and the other, a white cube for the additional works in the exhibition. Within this binary structure, suggestive of day and night, or lucidity and obscurity, Walker and Walker introduce a third element at play, a consideration of the notion of a threshold space; which brings together the before and after in a becoming, instead of separating them.
See also The Owl of Minerva; In the air
