The Age of the Marvellous, exhibition view

From the 14th to the 17th of October this autumn over 60,000 people, and amongst them myself descended upon Regents Park tube stop; many, upon climbing the steps to Marylebone Road strolled down the usually quiet row of townhouses towards Regents Park. The reason for this influx of visitors on a Sunday morning appeared with the enigmatic archway signalling the entrance to the Frieze Art Fair.

Esteemed by collectors of contemporary art Frieze offers an outstanding collection of art from the most exciting international galleries. 2009 saw 160 galleries representing 30 countries, with such breadth highlighting the globalization of art, and the emergence of artists from countries flourishing in the contemporary arts. A temporary marquee brings together the chosen galleries, which, with one exception this year chose to retain the white separating walls within the structure making a clear statement that the white cube is still a valued method of display for the sale of works of art. The Hauser and Wirth gallery became that one exception, a satisfying diversion from the white cube display model proffered a large bold black and white squared pattern on the majority of their wall area. Such a decisive move away from the numerous references to the white cube proved an exciting shift.

Such progression beyond the white cube as a means of displaying art, is, to my great pleasure flourishing of late. In London last year both You Dig the Tunnel and I’ll Hide the Soil (May 2008) in Shoreditch Town Hall and The Space Between (June 2009) in St. Pancras Church Crypt have removed art from a method of display which cocoons works in an environment in which the outside world must not be allowed to enter; the notion of time is removed, superimposed by eternity. The construction of such a gallery space is one which promotes the notion of a work of art as one which is able to transcend time; removed from the outside world and placed within this ritual space in order to allow artistic posterity. This formulation of space, is, however one which is becoming outdated; art galleries are more than controlled contexts in which art is examined, the white cube has become irrevocably tied to this practice. Exciting individuals are however moving away from this framework and exploring exciting, emotive situations for art which reflect the direct experience of the work for the observer.

One of the most interesting exhibitions to do this of late a stunning exhibition only yards from the Frieze Sculpture Park. The Age of the Marvellous presents a wide range of works, commissioned for the show, from 16 young artists within the former Holy Trinity Church, Westminster. In 1825 the graceful building was built with money set aside to commemorate the defeat of Napoleon, the church was deemed a ‘Waterloo Church’ and realised by Sir John Soane.

Mackie Alastair, Untitled (sphere) 2009
40 x 35 x 35 cm, mouse skulls, glass, wood

The Age of the Marvellous, coordinated by the unorthodox partnership of Joe La Placa and Mike Platt of ‘All Visual Arts’ is a experiment in the art world. Both collectors, and dealers AVA only collect the work of artists they highly admire, and like dealers they then mount shows with which to promote this work to the wider public. Rather than taking on a gallery, situations appropriate to the exhibition proposed are found as and when they are needed, removing overhead costs and ensuring the most exciting of exhibitions. The Age of the Marvellous is the third such exhibition by the pair since their partnership in 2008.

Inspired by the Cabinets of Curiosity, popular, in the late Renaissance and Baroque period these were rooms filled with natural wonders, art works and relics; in an era characterised by a revival of leaning such rooms symbolically conveyed the patrons control of the world, often the collections of rulers and aristocrats. It is the diversity of such collections which has inspired provided the framework for this exhibition; looking to a varied, cross-disciplinary approach each artist was commissioned to create works which ventured outside the boundaries of traditional art making. The cabinet of curiosity was constructed in order to incite awe, wonder and astonishment, it is this notion that informs the both the content and the situation of the exhibition.

A theatrical notion is apparent through the method of entering the exhibition, the spectator is invited to draw aside a thick red velvet curtain in order to enter. Commencing in such a way, with a necessity for the observer to interact with the space immediately differentiates this from the open plan spaces of modern galleries, for example the Tate Modern. In a brave and successful move the viewer moves fist into two small, dark, rooms; minimal lighting removes the visitor from the busy street and into a new physical and psychological state. Outstanding within these rooms for is Ben Tyers’ Breathe (2009), drawing attention to this unconscious process within the viewer themselves Tyers promotes a synchronisation between the art and viewer and many consciously consider and alter their breathing to concur with the inanimate work.

In a transition unashamedly created to insight awe the visitor is invited to again pull back curtains and move into the most spectacular space of the exhibition, the nave of the former church. Immediately captivating is Polly Morgans At the Beginning, a hanging framework apparently suspended by the flight of several birds. At the Beginning, inspired by a Victorian proposal for a flying machine is a hauntingly evocative work which is displayed to great effect within the vast nave. Confronting the viewer as they enter Morgans installation develops to become more than a work placed within a space, but one which is impacted upon and crucially one which impacts upon the majestic room. Dramatic shadows are thrown to the outer limits of the space impacting upon spectators, works surrounding it and the naves great mirrors. Even as a one turns away from the work in order to consider MccGwires alluring sculptural forms more intently the effects of Morgans work remain.

This enigmatic space is filled with diverse works, referencing nature, power, intrigue, beauty and, in the case of Kate MccGwire’s forms simultaneously fear and repulsion. MccGwire’s Urge (2009) and Wrest (2009) are intrinsically disconcerting unidentifiable forms meticulously constructed from magpie, pigeon and jackdaw feathers. Whether these forms are emerging, evolving, escaping or dying each form appears to take on a living capacity, enticing the viewer yet simultaneously leaving the viewer unsettled by their writhing form.

Kate MccGwire, Urge (left), Wrest (right), 2009

Four of Kate MccGwire’s sculptures are shown in the exhibition with Gag (2009) and Vice (2009), shown in the lower floor, the crypt of the chuch. It is these, from the English artist born, which are the most outstanding of the show. Graduating from the Royal College of Art in 2004 MccGwire has continued to call London her working base, and has undertaken numerous exhibitions in the Capital, presenting sculptures which trigger ideas within the spectators mind that are somewhat beyond rational interpretation.

Encountering MccGwire’s works enlivens them, it is the viewer who becomes the motionless entity whilst the seething, uncertain creature within the glass vitrine seems to slowly stir. For the spectator the glass vitrine is both welcomed, to perhaps entrap the form and, as each is one rescued and reused a little fragile for such a task.

Kate MccGwire, Vice (left), Gag (right), 2009.

Gag and Vice provides a satisfying moment in the otherwise very mixed lower crypt space of the show. A formidable yet rewarding space for any exhibition designer the crypt, contains a strong architectural rhythm by way of a grid like series of pillars and archways across the space. In the centre of this framework Alaistair Mackie’s Untitled (+/-) (2008) is displayed. Over a period of 1 year barn owl pellets were collected and transformed into their constituent elements of mouse fur and bone; these become both subject and object within the work. The fur, spun into yarn, and then by a loom transformed into a sheet of fabric is positioned adjacent to the fragile collection of mouse skeletons, which are presented as a heap, which corresponds directly to the size of the sheet of material. Mackie’s Untitled (+/-) may for some, upon first encountering, fall victim to the strong architectural formation of the crypt which implies a separate between the two elements which is an appropriate.

Moving from these works into the final, smallest room of the exhibition, the visitor finds themselves amongst a much too literal response to the theme of the Cabinets of Curiosity by Paul Fryer; five suitcases, partially opened with neon elements and other objects inside confront the viewer upon plinths and fail to intrigue.

Despite a small number of unsuccessful elements within the exhibition the Age of the Marvellous is defined by many more triumphant instances. Maria Novella Del Signore’s Quartet and Paul Fryer’s For Laplace (2009) respond to the complex crypt space in which they are displayed, and the first floor gallery provides a light and elegant hang for the spectacular charcoal works of Rece Jones and Wolfe von Lenkiewicz.

On this occasion any criticisms leveled against the show, accusing it of spectacle may be rebuffed, the Cabinets of Curiosity were compiled to create a space of wonder for the viewer. Thankfully progressions in science and understanding have explained so many ‘curiosities’ that centuries ago seemed unfathomable; today we demand, and achieve understanding and knowledge of areas previously incomprehensible, therefore the construction of an experience of awe must be a powerful one. The Age of the Marvellous is indeed successful in achieving this aura of wonder for the contemporary audience.

The Age of the Marvellous, exhibition view

Text: © Sara Kellett

Images: Courtesy of Tessa Angus

Tagged: Alaster Mackie, All Visual Arts, All Visual Arts’, Cabinets of Curiosity, Church, crypt, Former Holy Trinity Church, Frieze Art Fair, group exhibition, Joe La Placa, Kate MccGwire, Mackie Alastair, Maria Novella Del Signore, Marylebone Road, Mike Platt, Paul Fryer, Rece Jones, Reece Jones, Sara Kellett, Sir John Soane, The Age of the Marvellous, Waterloo Church, Wolfe von Lenkiewicz