Nau mai, haere mai, welcome to EyeContact. You are invited to respond to reviews and contribute to discussion by registering to participate.

JH

Lacey Performance / Savtchenko Installation

AA
View Discussion
Alexandra Savtchenko-Belskaia and Sonya Lacey, Parlour Peeps at 14/79 Beresford St Alexandra Savtchenko-Belskaia and Sonya Lacey, Parlour Peeps at 14/79 Beresford St Alexandra Savtchenko-Belskaia and Sonya Lacey, Parlour Peeps at 14/79 Beresford St Alexandra Savtchenko-Belskaia and Sonya Lacey, Parlour Peeps at 14/79 Beresford St Alexandra Savtchenko-Belskaia and Sonya Lacey, Parlour Peeps at 14/79 Beresford St Alexandra Savtchenko-Belskaia and Sonya Lacey, Parlour Peeps at 14/79 Beresford St Alexandra Savtchenko-Belskaia and Sonya Lacey, Parlour Peeps at 14/79 Beresford St Alexandra Savtchenko-Belskaia and Sonya Lacey, Parlour Peeps at 14/79 Beresford St

As the crowd squeezed into this elegant modernist balconied flat, they were literally dazzled by Savtchenko-Belskaia's contribution, an array of three hydroponic lamps bolted to the ceiling of its small lounge and distinctive with their shiny reflecting flaps and intensely bright yellow light. Outside on cue, between 6 and quarter past, the dark sky rapidly transmuted into a pale Curacao blue, brightening up the air over the trees and roof-tops.

Auckland

 

Alexandra Savtchenko-Belskaia and Sonya Lacey

Parlour Peeps


Sat 17 September 6-8 am

A week ago the small Auckland artist project group Parlour presented this, the first of a series of Parlour Peeps events, on an early, nippy mid-September morning in the Freeman’s Bay flat of the two artists. The hosting members and supporters worked with impressive logistical precision, giving lifts to those who asked, serving coffee, croissants, fruit and gluten-free oatcakes, guiding the sixty-seventy visitors to seats or floor space and disseminating information about Savtchenko-Belskaia and Lacey.

As the crowd squeezed into this elegant modernist balconied flat, one of several in a block, they were literally dazzled by Savtchenko-Belskaia’s contribution, an array of three hydroponic lamps (for plant -growing) bolted to the ceiling of its small lounge and distinctive with their shiny reflecting flaps and intensely bright yellow light. Outside on cue, between 6 and quarter past, the dark sky rapidly transformed into a pale Curacao blue, brightening up the air over the trees and roof-tops.

Alexandra Savtchenko-Belskaia also used the occasion to display some highly nuanced ceramics which at first glance seemed to be simple abstracted landscape painting on pieces of broken hardboard. In reality they were thin flat fired clay, with textile textures pressed on both sides and patches of thin blue mottled glazes. Two pieces lay on the low table in the lounge and another was upright, leaning against a window ledge so the horizontal blue line could be compared with the view out the window. Another ceramic container with a plant was positioned on the bar between kitchen and lounge. Both her interest in ceramics and in getting the viewer to look out of windows have featured in earlier projects.

Sonya Lacey‘s work consisted of sitting at the bottom of the stairs leading to the upper floor and talking to small groups that came over, curious to se what she was up to. She would read aloud a carefully prepared text and pass around three surprisingly heavy smooth silver objects, lenses taken from sunglasses and cast in zinc. These items cleverly related to her text and to Savtchenko-Belskaia’s project.

Using the terminology of science Lacey described in precise detail what happens to the body (and to eyesight in particular) when the brain is deprived of oxygen. Interspersed with her account of how vision is impaired and consciousness ends were paragraphs describing the fading of reflected light from the surfaces within the dwelling as the sun goes down - underlining the cohesiveness of the two artists’ performance.

I tend to be a sucker for dawn ceremonies, it always being - I find - a pleasure to see a new day’s early light reveal that part of the world I happen to be standing in; a process that never ceases to amaze. So mixing that with a sensitively constructed installation and performance, surrounded by congenial company, makes such a Saturday pretty special.

John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH
Installation of Jeena Shin's Movement Image Time exhibition at Two Rooms. Photo: Sam Hartnett

Shin Works on Canvas and Paper

TWO ROOMS

Auckland

 

Jeena Shin
Movement Image Time

 

27 October - 25 November

JH
John Stezaker, Marriage (Film Portrait Collage) CVI, 2013, collage, 30.3 x 23.3 cm. Image courtesy of the artist and The Approach, London.

Repulsively Enchanting Stezaker

CITY GALLERY WELLINGTON

Wellington

 

John Stezaker
Lost World

 

26 August -19 November 2017

JH
Tomislav Nikolic, How Long Must We Live Right Before We Don't Even Have To Try (Role Model), 2017: #1, mixed medai; #2, mixed media; #3, mixed media;

Tomislav Nikolic Paintings

FOX JENSEN MCCRORY

Auckland

 

Tomislav Nikolic

How long must we live right before we don’t even have to try

12 October - 11 November 2017

JH
Phil Dadson: Notation  Series #6 (961), painting; Tonethrone, instrument; HEADSUP@961: 23.8.16, projection

Dadson at Headlands

AUDIO FOUNDATION

Auckland

 

Phil Dadson
Shiver Me Timbres: Solos and Collaborations with a Multi-Voiced Instrument

 

5 October - 28 October 2017