Dillan Marsh
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MOLAF, Vancouver Art Gallery 2015-10-20
The Museum of Longing and Failure is a collecting entity that seeks to reveal the visual terrain of its thematic concern.
Installment No. 16 appeared at the Vancouver Art/Book Fair in the courtrooms of the Vancouver Art Gallery in Vancouver, Canada, from October 16th to 18th, 2015.
MOLAF
MOLAF, No. 16, Oct. 16 - 18. 2015
Nadia Belerique (CA)
Jacob Glesson (CA)
Josefine Lyche (NO)
Dillan Marsh (NO/UK)
DILLAN MARSH Trophy
Marble, dumbbell spanner, chocolate wrapper, 13x6x6 cm, 2015
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ATR Polaris roll-cage 2012-10-07
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3D 2012-08-25
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super total documentation 2012-08-15
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E Clare Review 2012-08-15
Millrace Gallery / Bergen Kjott
These objects were something like old fashioned projection screens, and something like gondolas; not of the Venetian type, rather the wheeled display stands used in retail (even though the wheels were rather too large to be seen on the shop floor - they were more reminiscent of something that could belong in a workshop - somehow 'masculine').
One was much taller than the other, on high legs. A square frame, glossy and blue, contained an LCD screen. The smaller one was painted in red gloss, and also held an LCD screen. The larger was somewhat mesmerizing as blue letters in italic capitals glided across the screen, spelling out 'TOTAL.' As I watched, I realised that the word seemed to glitch, to come apart - severed by a horizontal line through the middle; sometimes partially slipping from vision. TOTAL: this word as an entity, as a thing, as a visual object: I felt some pathos for it. It had fallen short, it was fading, it was uncertain. Words fail me...
Upon the screen of the smaller object, to the bottom right, almost slipping out, was the word SUPER in italic capitals. It was flashing - like brand names in lights at Piccadilly Circus, or how I would imagine it to be in Las Vegas. Yet once again there was a sense of pathos pertaining to the one who is desperate to be noticed, but just seen in the peripheral vision, at the edge, about to become obsolete.
Below the screens as I looked down, I noticed that the wires and connections at the back of the DVD player were left open, hanging out, and that surrounding the glossy blue frame was grey foam, cushioning the LCD screen and protecting it from damage. The Bride Stripped Bare By Her Bachelors, Even. Or this time perhaps we may infer that the Bachelor himself has been disrobed, robbed, even. The edifice that would give this work a sense of sheeny, hermetic closure as an object has been cast to one side. It appears to be suspended - in a state of display in its most commercial aspect (as a product/object/work of art), and also in the sense that it has been left bare: in a state that could be either not quite complete or abandoned in the process of dismantling.
Laurie Edson writes about 'The Large Glass,'
'The verbal clues provided in the title suggest that we are witnessing the ongoing process of the stripping and all that goes with it, a dynamic situation has been 'caught in the act', temporarily frozen in glass and delayed (delay, of course, promises completion at some later time).
Duchamp uses techniques that function to delay the spectator's response, and this very delay (and the subsequent heightening of the spectator's desire to comprehend, to solve, to figure out, read) produces desire in the sense which Barthes has used the term.'
It seems that in Marsh's work too, there is the undeniable sense of delay, and to use Edson's terminology, of being 'caught in the act.' In the seductive promise of a shiny, glossy exterior, and in the promise of the words 'super' & 'total' the viewer seeks at once to understand what is missing - to understand why this object is left as it is, apparently undone, to know exactly what it is, or what it is for. I (the spectator) am caught between a state of mesmerized fascination with the brightly lit words on the LCD screen, a sensuous appreciation of the physical potential of the clean, glossy structure, and a feeling of frustration in terms of knowing: I cannot name this thing before me; I cannot define it. And as such, both the physical object and meaning are left un-ended.
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fail 2012-08-14
'I see art itself as a failed enterprise, failed in its attempt to communicate or to elevate the human spirit'
Justin Lieberman
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dysfunctional 2012-08-14
'Art is design that has become dysfunctional because the society that provided the basis for it suffered a historical collapse'
Boris Groys, Going Public, e-flux journal, 2010
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shelves chairs and boilersuits press release 2012-08-14
What value does an object have, if it has lost it's function?
What happens when a chair is something that you cannot sit down on any more?
The function of art is not so clearly defined, theorists and critics are still discussing this question. What is the function of art and where is the art in a piece of work? We are proposing to explore this through the making of objects that appear to be functional at first glance.
The seemingly functional is turned completely useless or perhaps the useless object has suddenly become functional; could this be at the core of where fine art production separates from other genres? The question of what are we left with when art fails to tell stories, fails to prove craftsmanship, fails to be conceptual, fails to document, fails to critique, fails to construct a better world, and so on and so on. A dysfunctional object in our culture is at best a problematic object.
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moire-pattern 2012-08-09
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electrical safety test 2012-01-16
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Castle and Elephant, Coventry, 2010 2010-07-02
the group exhibition Rumiko Hagiwara – Dillan Marsh – Elizabeth Rowe brought together three artists whose work encapsulated notions of distraction, futility and perseverance. Working with the aesthetics of mass media, Elizabeth Rowe’s practice merged images from printed material to regain an element of control over an overwhelming accumulation of information. In preparation for exhibition, Rowe produced F—k reason (2009) which singularly featured on the front image of the exhibition flyer. In line with ideas of ineffectuality, four new works were commissioned and intended for inclusion in The Coventry Telegraph. When the commissions were denied printing due to the ambiguous non-commercial content, an enlightening conversation between Rowe and the editor discussing ideas about the ephemeral in art, formed an integral part of the show. Displayed within the window frontage, the protagonist in Rumiko Hagiwara’s film Escalator (2003) performs a subtle passive aggressive act by walking the opposite way, on a downward flowing escalator. By drawing attention to the use of the public space, Hagiwara suggests that the viewer rediscover trivial elements around them. This was shown in conjunction with Dillan Marsh’s work Multiple Failures (2008), which documents futile attempts to inflate a self-constructed air-balloon. Marsh strives to realise a fantasy of escape, but the end result is a catalogue of short-lived unsuccessful endeavours. 
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Castle and Elephant 2010-05-11
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