To demonstrate how I would exhibit my work, if I had the opportunity to do so. I am choosing this method of displaying my work is because I feel multiple videos are best presented as a display, such as an exhibition. It presents the work as a kind of report and shows the serious professionalism I want to demonstrate as I encourage a wide audience to view my work.
The idea of exhibiting led to me learning how to use SketchUp as I felt it would be useful in designing this exhibition and any future exhibitions during the course of my University degree. Below is an image of my latest plan, inspired by the IMMA gallery which displayed various videos in different dark rooms; the rooms were separated by curtains or cornered hallways.
- This is the main room of the exhibition. These multiple screens will display the one whole video on separate screens, this is to ensure that if the room was to fill with people, they are all able to be captivated by whats playing.
- These rooms have will have a single screen each projecting the videos of the individual stories. Instead of doors, i’d like the rooms to be separated by thick black curtains.
- Here is the large ‘ Ageing Population’ title surrounding the main entrance. On the opposite wall will probably be the artists statement.
I very much want the videos to be displayed in separate rooms for 2 reasons, firstly the audio of multiple videos mixing together makes it hard for the viewers to differentiate the audio of one person speaking to another. Secondly, the videos present and embrace the individual stories of my subjects and I would like to honour their individuality with their own spaces.
My reasoning for choosing this style of presentation, if I were to one day be able to actually create this exhibition for real, is because of the tradition of photography exhibitions and the benefits from it. The more common and well known practise of presenting Photography as an exhibition in a gallery, this allows the work to be viewed by a wider audience at private viewings and general viewings. The public are able to give their own constructive feedback whether it be negative or positive. Feedback is invaluable to a learning photography student like myself. Another benefit of exhibiting work is the connections you gain with the audience, galleries and sponsors through advertising with CD’s and business cards as well as people just viewing the work. These connections can be vital in the future of the industry as well at the future of the exhibited work.
My inspiration to present in this style has been influenced by the IMMA Gallery in Dublin, Ireland. This gallery separated a majority of it’s works, including video, by using thick black curtains. I feel this is mysterious yet inviting as people outside the room can hear hints of the audio without seeing the video, this will hopefully draw them in with curiosity.
“Every exhibition is a learning opportunity”
S, Read (2008) Exhibiting Photography: A practical guide to choosing a space, displaying your work, and everything in between. United Kingdom: Amsterdam; Focal press, c2008.
HOWEVER, this plan of creating an exhibition is partly based on the theory that picture/video displays in this style will still be relevant at the time this exhibition is created. If I was to create this project again or, as I have planned and explained, create a future version of the project, then I would need to take the move in technology and how we view art into account. If the world has become a totally internet-based online exhibition, then a website such as The Thing Link would be a possible choice as it’s interactive to give a sense of adventure with the participants in the videos or perhaps have taken on the style of David Lynch’s The Interview Project.
But the future is unpredictable.
” It is difficult to know these days whether the Internet is re-inventiving Photography or vice versa” – Victor Keegan, The Guardian.
Read, S. (2008) Exhibiting Photography: A Practical Guide To Choosing A Space, Displaying Your Work, And Everything In Between. United Kingdom: Amsterdam; Focal Press. p212.