Last week I attended the opening of a new show at the Cubitt Gallery collective in Islington, the space there was very small, I went primarily to see Stephen Sutcliffe’s work, although it turned out he was showing a piece that I had already seen. http://cubittartists.org.uk/2014/11/12/downwherechanged/
With Gregg Bordowitz, Travis Jeppesen, Adrian Piper, Henrik Potter and Stephen Sutcliffe.
Down where changed is a show which reflects on weight, the removal of weight, and loss. The title draws on an eponymous collection of writings by poet J.H. Prynne, a work where ambivalence around lack and excess is drawn upon: where the almost nothing becomes the almost too much.
Henrik Potter’s Deadweight/My Calm (After Paris) is a newly realised work, an installation which operates along ideas of weight and contingency. Drawing on industrial materials, the installation articulates points of functionality within the space – covering, securing and dividing – and yet function and use are limp- ing, returning to points of fragility and embodiment. Also realised for the context of this show is poet and activist Gregg Bordowitz’s Debris Field III, a concrete poem, grappling with the possibilities and troubles of pathos. Like much of Bordowitz’s work there is a subtext of loss in Debris Field, and the slippages between care and obligation.
The work of Adrian Piper, The Mythic Being Cycle I, is a sound piece from 1974. During this period, Piper did a series of exercises in the ‘structure of subjectivity’ working with repetition and absorption performed by and as the ‘Mythic Being’, a gender-ambiguous alter ego of Piper’s. Stephen Sutcliffe’s Come to the Edge (2003) draws on a recording of the poet Christopher Logue reciting a poem originally written in 1968, and archival footage shot in a 6th form common room – a soundtrack of sorts for Down where changed. Travis Jeppesen’s Rainstained Rodin (2014) is a projection and a study ‘of surfaces and weight’.