Amass

AmassOpening2

Amasis an exhibition with multiple intentions and various definitions. The title is a reference in its most direct translation a metaphor for curating an exhibition; to gather artwork, to assemble ideas, to group, and to collect. The exhibition at Boots Contemporary Art Space will bring together new video work from a selection of national and international artists. Under this headline, Amass is also blurring the boundaries between, art, design, and information by questioning the conventional configurations of how we view video art. By commissioning two local artists to design “sculptural support” that invites, and in some ways, compels the audience to assemble and come together as viewers, the exhibition will aim to provide a series of smaller encounters within one collective social experience, thereby highlighting the existence of a ‘closed temporal loop’ between creation, interpretation and reception. Quoting curator Chris Dearcon, art historian Liz Kotz references some similar preoccupations that Amass will seek to address: 
“The situation of video manifests a new set of structural conflicts, arising among different historical modes of “exhibition.” If earlier experimental film, video, and performance practices ostensibly sought to disturb the form and function of the gallery – newer, media-savvy art is designed for reproduction and display. Despite the long association of media-based forms with some type of “critical” or politically oriented practice, current gallery-based video art is all too eager to please – even as this requires total submission to the dictates of spectacle culture.“
This approach touches on Nicolas Bourriaud’s observations on what he coined “relational art”: “…the audience is envisaged as a community. Rather than the artwork being an encounter between a viewer and an object, relational art produces inter-subjective encounters. Through these encounters, meaning is elaborated collectively, rather than in the space of individual consumption.” These experimental display interventions also set up a system for response and conversation within the work, providing a complimentary transference between the space, the curator, the artists, and ultimately the viewer to develop through a sustained professional critique. By tweaking the dynamic, the challenge of this installation will aim to illustrate the possibility of complex associations that come together in one space, where video art and display connect, ultimately pinpointing and exploiting the meeting place between these art forms, the gallery space as social environment and collective spectatorship.
Participating artists: 
Sarah Baker
Kim Collmer
Chris Doyle
Wendy Mason
Brandon Morse
Iain Forsyth and Jane Pollard
Pascual Sisto
Exhibition Design:
Brandon Anschultz and John Watson 

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November 9 — December 23, 2007

Amass is an exhibition with multiple intentions and various definitions. The title is a reference in its most direct translation a metaphor for curating an exhibition; to gather artwork, to assemble ideas, to group, and to collect. The exhibition at Boots Contemporary Art Space will bring together new video work from a selection of national and international artists. Under this headline, Amass is also blurring the boundaries between, art, design, and information by questioning the conventional configurations of how we view video art. By commissioning two local artists to design “sculptural support” that invites, and in some ways, compels the audience to assemble and come together as viewers, the exhibition will aim to provide a series of smaller encounters within one collective social experience, thereby highlighting the existence of a ‘closed temporal loop’ between creation, interpretation and reception. Quoting curator Chris Dearcon, art historian Liz Kotz references some similar preoccupations that Amass will seek to address: 

“The situation of video manifests a new set of structural conflicts, arising among different historical modes of “exhibition.” If earlier experimental film, video, and performance practices ostensibly sought to disturb the form and function of the gallery – newer, media-savvy art is designed for reproduction and display. Despite the long association of media-based forms with some type of “critical” or politically oriented practice, current gallery-based video art is all too eager to please – even as this requires total submission to the dictates of spectacle culture.“

This approach touches on Nicolas Bourriaud’s observations on what he coined “relational art”: “…the audience is envisaged as a community. Rather than the artwork being an encounter between a viewer and an object, relational art produces inter-subjective encounters. Through these encounters, meaning is elaborated collectively, rather than in the space of individual consumption.” These experimental display interventions also set up a system for response and conversation within the work, providing a complimentary transference between the space, the curator, the artists, and ultimately the viewer to develop through a sustained professional critique. By tweaking the dynamic, the challenge of this installation will aim to illustrate the possibility of complex associations that come together in one space, where video art and display connect, ultimately pinpointing and exploiting the meeting place between these art forms, the gallery space as social environment and collective spectatorship.

Curated by:

Dana Turkovic

Participating artists: 

Sarah Baker

Kim Collmer

Chris Doyle

Wendy Mason

Brandon Morse

Iain Forsyth and Jane Pollard

Pascual Sisto

Exhibition Design:

Brandon Anschultz and John Watson 

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BP3-Amass-Image #2

AmassOpening

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