Tate Modern:
Bruce Nauman
On 17th November 2017, I was, like a moth, instantly attracted to the bright lights of the Bruce Nauman exhibition (Tate Modern). His work demanded the viewer to (literally) take a step back and consider the purpose and context of his work. Nauman's extensive and imaginative use of media transmits a multitude of different ideas simultaneously. It is clear that his previous studies in Mathematics and Physics informed his practice and are a domineering influence on his work. One piece which caught my attention was 'Violins, Violence, Silence' (1981).
Violins, Violence, Silence
1981
Bruce Nauman
The artwork itself was made of coloured neon tubing with a clear glass suspension frame. As the letters overlap, it is hard to initially distinguish what the piece is actually conveying, proving rather disorientating. Additionally, the buzzing noise which accompanies the piece (originating from the neon tubing) is somewhat distracting. However, it is ironic that while reading 'violins' evokes a pure and unpolluted noise, in reality you are faced with a low, droning buzz. I enjoy the irony of Nauman's work and the complex ideas which lie behind the lights. There is much more to this piece than is initially apparent and I hope that other visitors to the gallery take the time to consider its complexity.
Another piece in the exhibition which caught my attention was 'Raw Material Washing Hands'(1996). The video, which documents one individual washing their hands constantly for 55 minutes is difficult viewing. It is reminiscent of a person suffering from obsessive–compulsive disorder (OCD) in which the individual is performing a routine repeatedly, as though it were a ritual. The video becomes painful to watch as we see the individuals skin being overworked by the soap and water and I must admit that although the video runs for just under an hour, I watched it for no longer than 10 minutes.
Raw Material Washing Hands,
Bruce Nauman
1996
After seeing Nauman's work, it is clear that he questions and stretches the boundaries of what it is to make art. He has purposefully left behind traditional notions of 'fine art' and has distanced himself from paint as a medium.
Professional Practice: Collaborations
In March this year (2018), I participated in a workshop (Resistant Bodies) with Phoebe Davies and Nandi Bhebhe. Davies had reached out to Bhebhe after mutual friends had suggested they meet and discuss their respective practices. This meeting ultimately led to Bhebhe’s talents as an actor, dancer and choreographer and Davies’ skills as an artist and producer, merging together, leading to many shared projects and exhibitions. The collaboration undoubtedly enriched both their work, as they were able to feed off each other’s creative initiative. Following hearing this story, I realized the importance of reaching out to artists and organizations who share common goals or interests as myself. As I saw with Bhebhe and Davies, collaboration allows two people to utilize their talents and foster work development, both in its content and in its public reach. With some relationships established, and others waiting to be initiated, I intend to suggest projects which could be worked on together and projected into public spaces. With more research (much of which I hope to obtain through my MRes course this coming academic year), I would like to propose projects to universities and institutions, with a personal favourite choice being the University of Cambridge. The university uses its prestigious library as a space to hang exhibitions which invite conversation and celebrate the wealth of information and material that they hold (see below for some examples). I hope to one day show how medieval de-humanization is prevalent in modern day society, and, using the library’s many resources, would delight in showcasing this. I would also like to collaborate with museums, such as the Fitzwilliam and the British Museums, pursuing a similar goal of raising awareness of de-humanization through art and literature. I also intend to put forward a proposal to the Wellcome Trust and other, smaller charities.
