Glitch: The Aesthetics of Failure @ The Isherwood Gallery, The Old Courts

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30/04/17 GDLP

on the train to Wigan, i saw white mounds in a yard between a factory and the railway. i only noticed because they glittered v dramatically as tho there were clip art sparkles flashing over them, cartooned.

 

when I worked in North Woolwich last summer, the DLR used to go past the Tate & Lyle factory and some days, when the green net had been taken off it, you could see the sugar hill. It is kind of amazing how sugar was waitin there below the sky. I didn’t know if it was safe to leave it exposed like that; if it was the same sugar used to make syrup n stuff; or if birds ever sat on top and had a warm sleep. i think the white hills I saw on the way to Wigan were made of glass tho because I found a good window seat on the way back ready to take a video but the sun had gone in and they almost looked pale blue.

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I came across to The Old Courts in Wigan because I saw an email about an exhibition at The Isherwood Gallery, ‘Glitch: The Aesthetics of Failure.’

 

PHYSICALLY: the gallery is upstairs where the floors are set in woven wooden patterns that reminded me of school halls or churches. the arrangement in the gallery space was quiteeee foundation show in that it was brimming with artworks that sat like constituent little islands in a room: like people not wanting others in their personal space. i passed by piece 2 piece, plodding like ur supposed to navigate that type of setup.

Something felt thin about the production. the information cards on basic gsm paper stuck next to works were too conspicuous in the room, even tho their guideline intentions were good. these should have just been neater. so physicall y y y i wanted it to be less, to b sharper and a little more to the point. (I wish i could b an Exhibition Consultant and fix these little easy things, help the space settle like a baby).

 

CRITICALLY: with this show the curator asks, ‘when we fail, do we glitch?’

yesterday i was in a car and the driver put a CD on of ‘outtakes’ from a trio lineup Dolly Parton is a part of. I asked why anyone would make or even buy the outtakes, but he said they weren’t outtakes because they were failed songs, they were just alternative compositions the trio didn’t end up using on the main album. I like that gesture - and I almost felt it happening with this exhibition, but there’s a problem because the artworks here are like odd songs pulled from far away onto one compilation album. They don’t quite hold up together. they don’t look at home.

I know it’s exciting to curate a show and let everyone in through the back door, say yes to everything n for the show to be a big hug ~ but then I’m not sure if that’s curation; i don’t think there’s parentheses.

and I’m not convinced by the glitch/fail byline anyway. It makes this album feel like echoes of art that would have landed better a few years ago (i’m a diehard internet millennial but even I have retired datamoshing, CRT tv-dvd combos for showing videos on, and the word glitch as a buzzword).

 

while I didn’t particularly like the show, I also wasn’t mad. In the same way listening to music on the radio is chill, i enjoying being at exhibitions (when there’s nothing problematic praise b 2 god), and it is nice to think and talk about art. i reaaaally liked that i was on an adventure to another city to do that, and the curator, Chel Logan, was super nice. I think when it comes to curation tho, what questions are really going to mean something to audiences who are not just artists?? like: What makes u sit still and daydream until ur mind finds answers? what ideas make you write notes on your phone? what are ur drunk conversations pivoting on? what do u speak to people about in work? (tbh i feel like I am always searching for shows that hold these lite frames, of genuine n urgent life things; stuff removed from art’s made up concerns. aesthetic experiences n quiet emotion. maybe i should literally b going 2 the theatre instead)

the exhibition closes 2day quick go go go

 

b͓̽e͓̽s͓̽t͓̽ ͓̽v͓̽i͓̽e͓̽w͓̽e͓̽d͓̽ ͓̽i͓̽n͓̽ ͓̽l͓̽a͓̽n͓̽d͓̽s͓̽c͓̽a͓̽p͓̽e͓̽
͓̽o͓̽r͓̽ ͓̽o͓̽n͓̽ ͓̽a͓̽ ͓̽d͓̽e͓̽s͓̽k͓̽t͓̽o͓̽p͓̽

{ 𝔱𝔥𝔢 𝔬𝔫𝔩𝔶 𝔯𝔢𝔞𝔰𝔬𝔫 𝔗𝔥𝔢 𝔚𝔥𝔦𝔱𝔢 𝔓𝔲𝔟𝔢 𝔠𝔞𝔫 𝔰𝔱𝔦𝔩𝔩 𝔢𝔵𝔦𝔰𝔱 𝔦𝔰 𝔟𝔢𝔠𝔞𝔲𝔰𝔢 𝔰𝔬𝔪𝔢 𝔬𝔣 𝔬𝔲𝔯 𝔯𝔢𝔞𝔡𝔢𝔯𝔰 𝔠𝔥𝔬𝔬𝔰𝔢 𝔱𝔬 𝔰𝔲𝔭𝔭𝔬𝔯𝔱 𝔲𝔰 𝔢𝔞𝔠𝔥 𝔪𝔬𝔫𝔱𝔥 𝔳𝔦𝔞 𝔓𝔞𝔱𝔯𝔢𝔬𝔫. 𝔚𝔢 𝔰𝔬𝔪𝔢𝔱𝔦𝔪𝔢𝔰 𝔡𝔬 𝔱𝔞𝔩𝔨𝔰 𝔞𝔫𝔡 𝔬𝔱𝔥𝔢𝔯 𝔧𝔬𝔟𝔰 𝔟𝔲𝔱 𝔓𝔞𝔱𝔯𝔢𝔬𝔫 𝔦𝔰 𝔥𝔬𝔴 𝔴𝔢 𝔤𝔢𝔱 𝔭𝔞𝔦𝔡 𝔣𝔬𝔯 𝔱𝔥𝔢 𝔞𝔠𝔱𝔲𝔞𝔩 𝔴𝔯𝔦𝔱𝔦𝔫𝔤 𝔥𝔢𝔯𝔢 - 𝔱𝔥𝔢 𝔯𝔢𝔳𝔦𝔢𝔴𝔰 𝔫 𝔞𝔯𝔱 𝔱𝔥𝔬𝔲𝔤𝔥𝔱𝔰 𝔞𝔫𝔡 𝔰𝔬 𝔬𝔫. 𝔄𝔫𝔡 𝔦𝔱'𝔰 𝔰𝔬 𝔦𝔪𝔭𝔬𝔯𝔱𝔞𝔫𝔱 𝔱𝔬 𝔲𝔰 2 𝔱𝔥𝔞𝔱 𝔴𝔢 𝔠𝔞𝔫 𝔰𝔱𝔞𝔶 𝔦𝔫𝔡𝔢𝔭𝔢𝔫𝔡𝔢𝔫𝔱 𝔠𝔯𝔦𝔱𝔦𝔠𝔰 𝔴𝔦𝔱𝔥𝔬𝔲𝔱 𝔱𝔦𝔢𝔰 𝔱𝔬 𝔟𝔦𝔤 𝔣𝔲𝔫𝔡𝔢𝔯𝔰 𝔬𝔯 𝔦𝔫𝔰𝔱𝔦𝔱𝔲𝔱𝔦𝔬𝔫𝔰, 𝔭𝔲𝔟𝔩𝔦𝔠 𝔬𝔯 𝔭𝔯𝔦𝔳𝔞𝔱𝔢. 𝔗𝔥𝔞𝔫𝔨 𝔶𝔬𝔲 𝔣𝔬𝔯 𝔟𝔢𝔦𝔫𝔤 𝔬𝔲𝔯 𝔬𝔩𝔡 𝔱𝔦𝔪𝔢𝔶 𝔭𝔞𝔱𝔯𝔬𝔫𝔰 - 𝔴𝔢'𝔩𝔩 𝔡𝔬 𝔬𝔲𝔯 𝔟𝔢𝔰𝔱 𝔱𝔬 𝔭𝔯𝔬𝔡𝔲𝔠𝔢 𝔮𝔲𝔞𝔩𝔦𝔱𝔶 𝔬𝔲𝔱𝔭𝔲𝔱; 𝔴𝔯𝔦𝔱𝔢 𝔰𝔱𝔲𝔣𝔣 𝔱𝔥𝔞𝔱 𝔦𝔰 𝔱𝔥𝔬𝔲𝔤𝔥𝔱𝔣𝔲𝔩 𝔞𝔫𝔡 𝔰𝔦𝔫𝔠𝔢𝔯𝔢. }

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