Dillan Marsh
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Glass Magazine Review 2013-10-18
www.theglassmagazine.com
Nothing about Trees
On October 24, 2013, Cristina Bodgan
Probably the most exciting art shows I have seen recently were those I could relate to an experience – of light, of space; of environment in general. It seems as though single artworks – or even installations – are no longer efficient in producing aesthetic experiences for the viewer. With the omnipresence of what used to be called “new media”, the necessity for an experience to come from a state of immersion has risen. Contemplation is replaced by a more physical approach, the body becoming the subject of experience as much as the mind; in fact, art environments develop an organic approach to the human subject, proposing to reunite him with the world.
For such purposes, the landscape genre is an immediate solution. The show put together by 16 artists in a forgotten factory in North London, Nothing about Trees, regroups a variety of approaches to landscape, from paintings to object-based installations, to light shows using slides and transparent surfaces. The result is an open invitation to a walk into a place of mystery. Scenography is essential: after an initial open space, in which Pallas Citroen’s massive lighted sculpture of a fold bewilders the viewer, the show spreads into all directions, with pieces hidden around corners and under arches. Some are never what they seem to be – such as Mela Yerka’s mysterious moon painting or Dillan Marsh’s assemblages of too familiar objects. Others are built in time, only to break into perfect pieces – as in Giusy Pirrotta’s work. Light has the power to wake more than just the eye, and all of the works are constantly changed by beams of all shapes and sizes.
The figure of the landscape thus appears both in the individual works and in the show as a whole. One can fragment the space ad infinitum and still find himself in a liveable place. Immersion is the product of repetition and extension. The body is engaged and freed at the same time. This is a most beautiful attempt at defining the organic.
Artists: Carolina Ambida, Pallas Citroen, Eleanor Clare, Eleni Foundoukis, Tom Harrison, John Higgins, Iyvone Khoo, Tom Mason, Dillan Marsh, Bjorn Mortensen, Olivia Notaro, Elsa Philippe, Justin Piperger, Giusy Pirrotta, Ben Turner, Mela Yerka.
Cristina Bogdan
Nothing about Trees is at Unit 2C, Elthorne Road Studios, Boothby Road, London N19.
Opening times: 20th, 22nd-25th, 11am-6pm, with a closing afternoon on 26th from 4-8pm. 
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June Twenty First, Entree, Bergen 2013-08-14
photo Randi Grov Berger 
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Apis Press Publication 2013-08-14
printed by Apis Press in collaboration with Bjorn Mortensen and Entree all texts by Eleanor Clare 
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shelves chairs boilersuits 2012-08-14
photo bjorn mortensen
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morgenbladet 2012-08-14
Olsson anbefaler 18. - 24. mai, morgenbladet.no
Tommy Olsson gir deg hver uke sine kunstanbefalinger.
Publisert: 16. mai 2012 - 9:30
Shelves, Chairs and Boilersuits, Tollbodallmeninngen 39, Bergen
Det er noe spesiellt pirrende med visningsteder som bare har en adresse a vise til, og denne aner jeg fint lite om, bortsett fra at den ikke burde være vanskelig a finne. Og fordi pressemeldingen sier 'Art is design that has become dysfunctional because the society that provided the basis for it suffered a historical collapse' og ikke sa veldig mye mer. Men mer trengs ikke for a fa meg interessert, egentlig. Historisk kollaps, huh? Det beskriver jo tingenes tilstand til enhver tid, spor du meg.
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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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shelves chairs and boilersuits documentation 2012-08-12
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video loop (fruit) 2012-06-11
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