EVERYTHING Jaffa work Love is the Message, the Message

AT ONCE is a multi-disciplinary
exhibition created by The Lisson Gallery and The Vinyl Factory, displaying artworks
from 24 artists at 180 The Strand. The show commemorates The Lisson Galleries
fiftieth anniversary and is curated by Ossian Ward and Greg Hilty. The title EVERYTHING AT ONCE is a hopeful way to overlap a mix of old and new
contemporary works within a three-story space. Ward notes, ‘if there is a theme to this theme less show, the idea
is that some of the works really do transcend time. They relate back to history
as much as they do to the present'(REFHERE). While the show successfully collapses the
past, present and future into one with its choice of works and it mentions how
we live in an ‘all-at-once’. This ‘all-at-once’ idea when curating the show has …. ( need 2 sort this paragraph out) become


Unbeknownst to me, Test Pattern does not come under the title EVERYTHING AT ONCE and is in fact a site-specific work that runs
parallel to the show. Presented alongside of Arthur Jaffa work Love is the Message, the Message is Death and
Jeremy Shaw’s work Liminals. These
three works are spread out across the space of EVERYTHING AT ONCE, with no clear clarification of what is in or
out of the show. Therefore, it is important to discuss as the methods of
display have affected my view on works. In chronological order of viewing the
exhibition, this review will raise a variety of points of what was explored raising
questions about whether we can judge artworks based off our initial reception
of the show.

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first entering the building you are told to take your shoes off. These are
words that could be said when entering someone’s home, as if to say ‘Come in and get comfortable but don’t make a mess’.  This being
an unconventional way of viewing work, you are excited and slightly uncertain
of what could be around the corner. The artwork you are first presented with is
called Test Pattern N°12 by Ryoji


The work enters you into an immersive
audio-visual world, disorienting you with a highly-charged kinetic environment.

Unlike the image below it’s unlikely you will be able to experience
this alone due to the hundreds of people who visit the gallery the same day as
you. As expected in the 21st Century during these visual experiences
you will be surrounded by phones and people on them, (could talk about phones? Social
media? How I saw this piece on instagram b4 I went?)
















(could talk about the fact that you cant really view this
alone like in the picture, also perhaps I should talk about this work what it
is, what it does, how it makes me feel, the other people around me? Blahblah?)


still feeling energetic from the overwhelming sensorial experience of Ryoji
Ikeda, you are then putting your shoes back on and being plummeted straight
into a ‘white cube’ space. A space where your self-awareness is
heightened by a thousand and your unknowing amount of clumsy hits you as you
pivot anxiously around large intimidating sculptures. Amongst other artists in
the room, one of them is Ai Weiwei. Displaying a floor works Iron Tree Trunk and Iron Root and a wall work called Odyssey, which spends 60 metres along the wall.

become problematic is that my previous experience had then affected this new
work I was faced with, which was having an underwhelmed feeling about it. An
unfair reaction to a work that deserves to be recognised and brought to your
attention. A work that talks of the ongoing global refugee crisis.






The exhibition felt like it constantly plunges you in
and out of the virtual and non-virtual world, ( use better words for this
sentence and talk more about in and out blah blah, Brian O’Doherty states, ‘

is a peculiar uneasiness in watching artworks attempting to establish        territory but not place in the context
of the placeless modern gallery.


current cultural position of the white cube.

MEDIA ART (will think of better names for my subtitles)

Gere talks about how


Galleries and museums can engage with our increasingly
technologized society, in particular the ubiquity of new media and new
technologies such as the Internet. Reference ( PAGE 13 new media in the white
cube and beyond)

(find better quote than this use Christiane Paul)


The term ‘New Media Art’ is being used recently in discussion to works made
using technology. (explain new media art better)


Christiane Paul notes:

‘There is no doubt that traditional art institutions
must transform themselves if they want to accommodate new media art’page 54


‘Suddenly the common plea of the museum not to touch
the art no longer applies, but large segments of the audience still hesitate to
engage psychically, the artwork in a gallery space.  Page 54


Require an extended viewing period.

Virtual and physical space.

Page 56 bottom

Page 57


‘The presentation of internet art in the museum is one
of the most problematic scenario’

doesn’t need a gallery

‘Although net art exists in a ‘virtual’ public space of a gallery… marina celebrated artist

page 67


New media art to a greater or lesser extent is about “technology”



“computer art is embedded in our daily lives more than
most other forms page 70


Point two: Marina Abramovic, accessible online, no seats, aware of others,
why does visiting the gallery environment have to offer? Digital exhibition
service? Talk about new media art and how galleries need to engage with this.

Marina Abramovic: – all works displayed are easily accessible online

When viewing the exhibition and coming across a
series including three video works by Marina Abramovic, Freeing the Voice, Freeing the Body, Freeing
the Memory (1975). All three of these videos are accessible on popular
websites such as Youtube.

does visiting the gallery offer people when you can just Google a review or look at
pictures from the exhibition isn’t that as good as going? Why don’t the Gallery
offer a digital exhibition service?

On apps like Google Art and Culture you can take
virtual reality tours around museums. How things are apparently supposed to be
and general expectations but the fact they could change those ‘traditions’.




Point three: Touching on the problems of displaying
works together in an ALL AT ONCE age. Arthur Jaffa’s work with Julian Opies. Having the work so
culturally relevant after seeing Julian opie, the methods of display, Arthur
jaffas being at the top almost missed.

The main concern for putting Arthur Jaffa’s work amongst EVERYTHING
AT ONCE is that it is completely radical and irresponsible to dump
something so important and culturally relevant at the top where it is hidden
and could almost be missed by poor curation efforts.

Arthur Jaffa: – more culturally relevant “this is happening write

is the Message; The Message is Death, amongst the rest of the show is that  is a compilation of found footage, offering
brief, brutal glimpses of racist America, which pummels you in the gut for
seven minutes, accompanied by Chance the Rapper’s Ultralight Bean, featuring Kanye West. This tends
to seem more immediately relevant than anything you see in the main show. What
it says is ‘this
is happening right now’ and it means it. Nothing in the main show has quite that