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What a loaded question, one that’s triggered by a certain visitor attempting to listen to a blank projection screen, one that’s uttered by a semi-well meaning, largely patronising gallery attendant and one that Phillipe Parreno clearly enjoys contravening. I must be struggling to relate to the king of relational aesthetics.
Parreno is not an artist to adhere to the usual conventions of display. Playfully reimagining the exhibition space as a multi sensory ride that’s more than just the sum of it’s parts but a carefully choreographed whole taking the intuitive viewer by the ear and the eye guiding them on a journey of salvation from that terrible dilemma faced upon entering the symmetrical Serpentine Gallery – left or right.
Left says Parreno and the dutiful follow as the blinds come down and the ‘Boy from Mars (2003) flickers on; nike merurial vapor superfly III firm ground for sale, a curious film constructed from shots of water buffalo interspersed with glowing domed buildings releasing lanterns at night. Some further research uncovers that the electricity to power the filming was generated by the animals themselves- not that that’s remotely evident nor necessary information but making sense of things is a bad habit of mine. Parreno doesn’t share this problem, the sensibility of this show is nonsense; around the room visitors are joined by fluorescent stacks of electrical socket ‘AC/DC Snakes’ curling up from beneath the floorboards and as the blinds come up it’s suddenly snowing.
Before there is time to contemplate this, wistful singing ushers in the next video and the centrepiece of the show, June 8th 1968 (2009) a dreamy film taking in rows of countryside spectators, a picnicking couple, a girl in a boat and a detached stillness. It’s a recreation of images shot from the New York to Washington train journey taken by Robert F Kennedy’s body. These aren’t mourners, though but perfectly turned out actors in superb high definition. In recreation the reality of the event falls away and the position of the viewer skewed as we watch the staged watchers ‘observing’ a procession that occurred over 40 years ago.
Brash electric lights flick on and we are rudely reminded of our own actual position. Pounding music indicates that it’s time to relocate to the next room, the next reality, this time InvisibleBoy (2010), a film of a very young Chinese illegal immigrant occupying a cluttered apartment in the narrow space between two tenements where scratchy rabbits, nike merurial vapor superfly III firm ground soccer shoes for sale, owls and other creatures leap from his imagination onto the film stock whilst the music crescendos assigning dramatic significance to the boy’s quiet plight
His reality is a grim one and reality itself a slippery thing. There’s no real or unreal here, the genuine snow having only just thawed to give way to the fake, no inside or outside… and, yes! There are noises emanating from those screens, faint noises synonymous with Hyde Park murmuring around the interior of the Serpentine.
Parreno hurtles his viewers through a series of very different and ambiguous worlds concluding and beginning, buy nike merurial vapor superfly III firm ground soccer shoes for sale, in a blurry festival of secondary source; an older film reshot on a mobile phone and replayed here. One where children stage a pretend protest:
‘No More Reality!’ they chant, quite.
Parreno is not an artist to adhere to the usual conventions of display. Playfully reimagining the exhibition space as a multi sensory ride that’s more than just the sum of it’s parts but a carefully choreographed whole taking the intuitive viewer by the ear and the eye guiding them on a journey of salvation from that terrible dilemma faced upon entering the symmetrical Serpentine Gallery – left or right.
Left says Parreno and the dutiful follow as the blinds come down and the ‘Boy from Mars (2003) flickers on; nike merurial vapor superfly III firm ground for sale, a curious film constructed from shots of water buffalo interspersed with glowing domed buildings releasing lanterns at night. Some further research uncovers that the electricity to power the filming was generated by the animals themselves- not that that’s remotely evident nor necessary information but making sense of things is a bad habit of mine. Parreno doesn’t share this problem, the sensibility of this show is nonsense; around the room visitors are joined by fluorescent stacks of electrical socket ‘AC/DC Snakes’ curling up from beneath the floorboards and as the blinds come up it’s suddenly snowing.
Before there is time to contemplate this, wistful singing ushers in the next video and the centrepiece of the show, June 8th 1968 (2009) a dreamy film taking in rows of countryside spectators, a picnicking couple, a girl in a boat and a detached stillness. It’s a recreation of images shot from the New York to Washington train journey taken by Robert F Kennedy’s body. These aren’t mourners, though but perfectly turned out actors in superb high definition. In recreation the reality of the event falls away and the position of the viewer skewed as we watch the staged watchers ‘observing’ a procession that occurred over 40 years ago.
Brash electric lights flick on and we are rudely reminded of our own actual position. Pounding music indicates that it’s time to relocate to the next room, the next reality, this time InvisibleBoy (2010), a film of a very young Chinese illegal immigrant occupying a cluttered apartment in the narrow space between two tenements where scratchy rabbits, nike merurial vapor superfly III firm ground soccer shoes for sale, owls and other creatures leap from his imagination onto the film stock whilst the music crescendos assigning dramatic significance to the boy’s quiet plight
His reality is a grim one and reality itself a slippery thing. There’s no real or unreal here, the genuine snow having only just thawed to give way to the fake, no inside or outside… and, yes! There are noises emanating from those screens, faint noises synonymous with Hyde Park murmuring around the interior of the Serpentine.
Parreno hurtles his viewers through a series of very different and ambiguous worlds concluding and beginning, buy nike merurial vapor superfly III firm ground soccer shoes for sale, in a blurry festival of secondary source; an older film reshot on a mobile phone and replayed here. One where children stage a pretend protest:
‘No More Reality!’ they chant, quite.
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