Dillan Marsh


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Helios, animation 2013-09-16

Helios, animation Helios, animation Helios, animation Helios, animation Helios, animation Helios, animation Helios, animation Helios, animation Helios, animation Helios, animation Helios, animation Helios, animation Helios, animation Helios, animation

Tags: work / exhibition / recent_work / red / repeat / loop / race / cycle / energy / video / drive / circle / light / 2013 / time / Entree / animation / yellow / stripe / June_Twenty_First / simulation / dance / circus / speed / pattern / colour / pass / heliotherapy / sequence / line / Helios /


Installation Process Entree 2013-09-05

Installation Process Entree Installation Process Entree Installation Process Entree

Tags: work / exhibition / equipment / component / box / arena / temporary / production / installation / studio / 2013 / Entree / June_Twenty_First / process / helmet / flag / Randi_Grov_Berger / Bergen / drum / sketch /


the New Era 2013-09-05

Ivan Gutierrez, a 37-year-old artist who lives in the nearby village, stood before the pyramid and blew a low, sonorous blast on a conch horn. "It has already arrived, we are already in it" he said of the new era. "We are in a frequency of love, we are in a new vibration."

Tags: research / text / belief / cycle / energy / ritual / desire / quote / escape / 2013 / New_Age / religion / hippie / June_Twenty_First / connection / pyramid / new / midsummer / solstice / electromagnetic / etheric / seek / phenomena / magnetic_field / urgent / Ivan_Gutierrez /


Patrick Wagner Screen Print Edition 2013-08-15

Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Screen print collaboration with Patrick Wagner, contact Entree for further information. Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition Patrick Wagner Screen Print Edition

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June Twenty First, Entree, Bergen 2013-08-14

June Twenty First, Entree, Bergen June Twenty First, Entree, Bergen June Twenty First, Entree, Bergen June Twenty First, Entree, Bergen June Twenty First, Entree, Bergen photo Randi Grov Berger June Twenty First, Entree, Bergen June Twenty First, Entree, Bergen June Twenty First, Entree, Bergen June Twenty First, Entree, Bergen June Twenty First, Entree, Bergen June Twenty First, Entree, Bergen June Twenty First, Entree, Bergen

Tags: work / exhibition / recent_work / documentation / red / arena / temporary / structure / installation / Norway / 2013 / Eleanor_Clare / Entree / animation / yellow / tube / stripe / June_Twenty_First / vinyl / pile / tire / Bjorn_Mortensen / midsummer / presentation / steel / helmet / Patrick_Wagner / flag / Randi_Grov_Berger / Bergen / drum / checkered / octagon /


June Twenty First (printed by Patrick Wagner) 2013-08-14

June Twenty First (printed by Patrick Wagner) June Twenty First (printed by Patrick Wagner) June Twenty First (printed by Patrick Wagner) June Twenty First (printed by Patrick Wagner) Produced in collaboration with Patrick Wagner June Twenty First (printed by Patrick Wagner)

Tags: work / exhibition / recent_work / documentation / red / blue / design / collaboration / print / 2013 / Entree / yellow / edition / June_Twenty_First / screen_print / Patrick_Wagner /


Apis Press Publication 2013-08-14

Apis Press Publication Apis Press Publication printed by Apis Press in collaboration with Bjorn Mortensen and Entree all texts by Eleanor Clare Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication

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Helios (text by Eleanor CLare) 2013-08-14



As he rides his chariot, he shines upon men and deathless gods, and piercingly he gazes
with his eyes from his golden helmet. Bright rays beam dazzlingly from him, and his
bright locks streaming from the temples of his head gracefully enclose his far-seen face: a rich,
fine-spun garment glows upon his body and flutters in the wind: and stallions carry him.
Then, when he has stayed his golden-yoked chariot and horses, he rests there upon the
highest point of heaven, until he marvellously drives them down again through heaven to Okeanos."

Homeric Hymn 31 to Helios (trans. Evelyn-White) (Greek epic C7th - 4th B.C.)

*

I lived to dance all night. A surging energy created a new and unprecedented confidence:
that it was possible to cheat time. I felt invincible - transcendent. Life was light, without fear
of death; at least not in this state of being. I sensed in my body vibrations of sound.
The closer I got to the source, the more it enveloped me, becoming a physical entwinement with
music and space. I felt one with it. But as the years passed, inevitably my heart began to
beat out of time. The breath did not come so easily. I held it at the top for a few seconds,
afraid to exhale. In these moments, the perceived syncopation that was once such a joy had
started to become a dissonance.

*

I feel alive, and the world - it's turning inside out Yeah!
I'm floating around in ecstasy
So don't stop me now,

I'm a shooting star leaping through the skies
Like a tiger, defying the laws of gravity
I'm a racing car passing by like Lady Godiva
I'm gonna go! go! go!
There's no stopping me!

I'm a rocket ship on my way to Mars
On a collision course
I am a satellite, I'm out of control
I am a sex machine ready to reload
Like an atom bomb about to
Oh -oh-oh-oh-oh explode!

(Extracts from 'Don't Stop Me Now' lyrics by Freddie Mercury, 1978)





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Burnout (text by Eleanor Clare) 2013-08-14



Burn Out

Through the grainy unsteady image and the sound, distorted by low quality compression, it
seems like something is trying to break through. The first few seconds sound like noise
pulled through a synthesizer, screaming and kicking as it emerges, fighting for life in its new
digital form. Something about it is alarming, frightening, tortured and angry. It is half-formed,
raw and unrefined. Streaks of red and white light flash across the screen.

It is an arena for action. Something about this situation that is chaotic; yet there is an
element of control. The driver makes tight circles around a central axis. At first this is
demarcated by a traffic cone, but as things proceed, the silhouette of a young man moves into the
centre. The car stops and revs up, creating billows of smoke in the air, obliterating vision for
a few moments. As the car skids and screeches, I feel a sense of alarm. This is coming close to
disaster for the lone, central figure, potential victim of the anonymous driver, a sacrifice for
the entertainment of onlookers. I can sense also the collusion. One figure willingly places his
trust in the other. There is a tension between these two.

*

A smoky, fiery object is spinning recklessly. One might say things had spun out of control.
Not quite though; for to completely lose control would mean total destruction. It would mean the
end. It all went up in flames. This is a sudden, intense and short lived burst of energy. More
like a supernova than the sun, and more akin to a meteor careering around a planet, than a planet
orbiting the sun. It was more than this, though. This scene was not simply about objects in space;
it was human. It was a game or a task, perhaps even a ritual.

Although I can identify it as a human activity, shot through with the implications of one's
relationship to another, from my vantage point it also seemed anonymous. In the dark, these
figures could be anyone, totally unrecognisable by the light of day. In this moment they had a
relationship to one another. Certainly for the two central protagonists, it was one of great
significance and trust. At any other time, on any other level, it was unclear. In this sense, the
action had become symbolic. The figures could be understood as archetypes. Ones which, for reasons
I cannot yet identify, I associate with the masculine.

***

In the threat of a loss of control, images had already flooded my mind. I remember as the
helicopters circled in the air above my house one evening in August. I had no idea why it was
happening, but this circling was incessant, the noise repeatedly coming close and fading away,
swelling and receding, but never quite out of my consciousness. It always gives me a slight sense
of unease, the idea of something being under surveillance, coupled with the notion that something
might be wrong. Why this surveillance from such a great height? It is a safe distance for the one
who watches. Then I remembered the destruction that had taken place, just minutes away from my home.
The aerial images of buildings and cars set alight, and rioters surging through the streets, anonymous
from this point of view. London's Burning.





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Mask (text by Eleanor Clare) 2013-08-14



You feel your breath inside the mask.

It is hot and damp.

You hear yourself breathing, heightened.

The mask is here: between the wearer and the world, the watcher and the watched.





Tags: work / text / collaboration / 2013 / publication / Eleanor_Clare / Entree / June_Twenty_First / mask / Apis_Press /


Appendix 1 (text by Eleanor Clare) 2013-08-14



Appendix 1: Extracts from C.G. Jung, Commentary on the Secret of the Golden Flower

The wise Chinese would say in the words of the I Ching: When yang has reached its
greatest strength, the dark power of yin is born within its depths, for night begins at midday
when yang breaks up and begins to change into yin.

...

The ‘enclosure’, or circumambulation, is expressed in our text by the idea of a ‘circulation’.
The ‘circulation is not merely motion in a circle, but means, on the one hand, the marking off
of a sacred precinct, and, on the other, fixation and concentration. The sun wheel begins to run;
that is to say, the sun is animated and begins to take its course, or in other words, the Tao begins
to work and to take over the leadership. Action is reversed into non-action; all that is peripheral is
subjected to the command of what is central. [...]

Thus the circular movement also has the moral significance of activating all the light and all
the dark forces of human nature, and with them, all the psychological opposites of whatever
kind they may be.

...

If viewed correctly in the psychological sense, death is not an end but a goal, and therefore
life towards death begins as soon as the meridian is passed.





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Appendix 2 (texy by Eleanor Clare) 2013-08-14



Appendix 2: Georges Bataille, Inner Experience

In this way existence closes the circle, but it couldn’t do this without including the night
from which it proceeds only in order to enter it again. Since it moved from the unknown to the
known, it is necessary that it inverse itself at the summit and go back to the unknown.

...

Action introduces the known (manufactured); then understanding, which is linked to it, relates the
non-manufactured, unknown elements, one after the other, to the known. But desire, poetry and
laughter increasingly cause life to slip in the opposite direction, moving from the known to the
unknown. Existence in the end causes the blind spot of understanding and right away becomes
completely absorbed in it. It could not be otherwise, unless a possibility for rest were to present
itself at a certain point. But nothing of the kind takes place: what alone remains is circular
agitation – which does not exhaust itself in ecstasy and begins again from it.

...

The upper part of my body – above the solar plexus – had disappeared, or at least no longer gave
rise to sensations which could be isolated. Only my legs – which kept me standing upright,
connected what I had become to the floor – kept a link to what I had been: the rest was an enflamed
gushing forth, overpowering, even free of its own convulsion. A character of dance and of
decomposing agility (as if made of a thousand idle futilities and of life’s thousand moments of
uncontrollable laughter) situated the flame ‘outside of me’. And as everything mingles in dance,
so there was nothing which didn’t go there to become consumed.





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Appendix 3 (text by Eleanor Clare) 2013-08-14



Appendix 3: Miscellaneous

As cosmic man or the personification of the intelligence in the tree of life, the Green Man is
the point at which the truth is manifested in creation, whether as life, light, song, words or
other figurative forms of art. He is the medium through which divine inspiration guides the works
of time in the fullness of space. He is the point of entry of eternity into time. Space is the
medium of sound, and therefore the music of praise.

W. Anderson, Green Man: The Archetype of our Oneness with the Earth.

...

Such circles designate, like the spirals, the paths of entry between worlds, and the pacing or
dancing of such designs in imitation of the journeys of the Gods, offers a perfect explanation of
these structures.

The Avebury henge was not a sculpture in the sense of being a finite, completed object.
Instead, it was brought to completion at the right time by human participation.

M. Dames The Avebury Cycle

...

In the extraordinary madness which periodically invaded Europe from the fourteenth to the
seventeenth century, people danced until they dropped.

At Liege in 1374, after certain possessed folk had come dancing half naked into the town
with garlands on their heads, dancing in the name of St John, we are told that many persons
seemingly sound in mind and body were suddenly possessed by devils and joined the dancers.

E.R. Dodds The Greeks and the Irrational





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Camilla Brochs-Haukedal, Kunstforum Review 2013-07-12

KUNSTforum

Fart, glede og kosmiske referanser

Camilla Brochs-Haukedal - 12.07.2013

Med utstillingen June Twenty-First pa entree i Bergen, byr Dillan Marsh pa flere assosiasjoner, fra pop art til motorsykkellop, fra midtsommerfeiring til reklameskilt.

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

Slagverk, motorsykkel og reklame

Gjennom en stor skjelettlignende stalkonstruksjon trer vi inn i Dillan Marshs (f. 1980, UK) romdekkende installasjon, June Twenty-First, laget spesielt for entree. Utstillingen bestar av flere komponenter som hver for seg fungerer som selvstendige verk, men utstillingen har en tittel og ingen verksliste, det er derfor naturlig a lese den som en installasjon.

Langs veggene, innenfor porten, er det snekret opp benker, eller temporaere tribuner, umalte og ubehandlede. Med en skranende fremside er de litt ubehagelige a sitte pa, og uten a ha bli invitert til det, hadde jeg nok ansett dem som en ramme rundt resten av utstillingen, en ramme som for ovrig fint knytter de enkelte verkene sammen til en helhet i rommet.

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

I midten av hesteskoen av tribuner troner fire soyler i forskjellig hoyde, bygget opp av gummidekk, trommer, flerkantede esker og motorsport-hjelmer. alle komponentene ser ut til a vaere godt brukt og baerer preg av a ha levd et liv for de som object trouve; ble deler av Marshs kunstverk.

Bak soylene pa motsatt vegg, vis a vis inngangsdoren, er to flagg i kryss i rod og gult. Fargene og monstrene gar igjen i den store stripen som dominerer hele vindusveggen til entree, og pa skjermene som apenbarer seg i sideblikket idet man gar inn i rommet. Denne skulpturen er satt sammen av tre skjermer, stroppet sammen i en stabel. Bildene pa skjermene varierer i hastighet og virker bade forstyrrende og samtidig levende og livlig, mye takket vaere fargene og de raske, repetetive bevegelsene.

a day at the races

Dekkene, flaggene, materialene og ikke minst hjelmene, sammen med en sterkt tilstedevaerende lukt av gummi fra dekkene og de sterke fargene gult og rodt, gjor; det vanskelig a losrive seg fra assosiasjoner til motorsykkellop. Jeg innrommer et tidligere flerarig fan-forhold til eurosport, MotoGP, alex Barros og Valentino Rossi, men selv uten dette er assosiasjonen svaert naerliggende.

Med gult og rodt som dominante farger i utstillingen, er assosiasjoner til store reklameskilt for bensinstasjoner som Shell heller ikke langt unna. Marsh har tidligere brukt grep fra reklameskilt og merkevarebygging i sine verk. I utstillingen June Twenty-First er det selve virkemidlene i den kommersielle markedsforingen Marsh tar i bruk: de sterke fargene, brandingen av entrees store vindu og det repetetive monsteret pa skjermene.

Med utstillingen gjor Marsh galleriet til en storre del av sin utstilling enn bare et rom a vise kunsten i. entrees egen logo er fjernet fra vinduet, i stedet er vinduene dominert av to store, rode linjer som motes i en spiss i midten og som gjor entree svaert synlig fra utsiden, et blikkfang i gaten pa samme mate som de store Shell-skiltene er langs motorveiene. Som entree skriver pa sin nettside: 'entree finds itself re-branded and built into the concept of the work on show'.

Med disse grepene er referansene til pop art ogsa sterkt tilstedevaerende, i bade bade form og innhold. De sterke fargene og det repetetive monsteret samt Marshs bevisste bruk av kommersiell markedsforingsvirkemidler kan ikke annet enn a gjenkalle andy Warhol.

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

a samles rundt balet

Apningsdagen til Marshs utstilling falt pa 21. juni, som er sommersolverv, arets lengste dag. Fest og feiring er assosiert med tiden rett etter denne dagen i aret med flest soltimer. Her i Norge er det Sankthans som gjelder, med feiring, bal og fest, men det a feire midtsommer har tradisjoner mye eldre enn kristendommen. Ved a kalle utstillingen, eller installasjonen, June Twenty-First, pakaller Marsh en positiv stemning assosiert med sommer, sol, fest og ritualer. Tittelen har tilsynelatende ikke noe umiddelbar sammenheng med verkene utstilt, annet enn at apningen falt pa denne fredagen. Sammenhengen ma vi derfor reflektere rundt selv, hjulpet av introduksjonen pa entrees nettsider, ogsa de for anledningen rod- og gulrutet lik monsteret pa skjermene og ett av flaggene i visningsrommet.

Gjennom tittelens referanse til sommersolverv soker utstillingen, ifolge nettsiden, a vise hvordan vi gjennom deltakelse i storre eller mindre feiringer, tilstelninger og ritualer ogsa er del av et storre system, faktisk et kosmisk system. Denne forbindelsen synes svaert subtil i opplevelsen av installasjonen, det er ikke lett a fa fatt i hvordan kunstnerens overordnede budskap skal overfores. Men den nye publikasjonen av apis Press, lansert samme dag og i forbindelse med utstillingen, med tekster av eleanor Clare, kan kaste lys over Marshs inspirasjonskilder, og hvordan vi kan tolke tittelen og verkene utstilt.

IMG_0422

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

I tillegg til a havne pa arets lengste dag, markerte apningen av June Twenty-First lanseringen av nevnte publikasjon, og lanseringen av forste utgave av Utstillingsguide for Bergen (utstillingsguide.no). Vernissagen markerte altsa flere begivenheter og gjorde installasjonen i seg selv til en arena for festligheter og feiring. Og det er en positiv opplevelse a vaere i rommet med de bevegelige skjermbildene og soylene av dekk og trommer og hjelmer, de sterke fargene og den litt skarpe lukten. Som installasjon har Marsh fatt mye ut av entrees lokaler, det er en vellykket bruk av rommet.

Installasjonen kan leses og tolkes pa mange mater, det er mye a ta av bade i referansene og i opplevelsen av rommet, og er vel verd et besok.  Men pa tross av at jeg aner noen interessante assosiasjonene rundt ritualer, systemer og var alles soken etter tilhorighet og plass i den store sammenhengen, ma jeg innromme at jeg fremdeles finner det litt vanskelig a losrive meg fra inntrykket av a vaere pa et MotorGP-lop.




Tags: work / exhibition / commerce / competition / stage / red / text / repeat / loop / box / arena / race / structure / driving / cycle / drive / circle / Norway / 2013 / action / sculpture / Entree / New_Age / noise / yellow / solar / June_Twenty_First / process / gallery / connection / new / midsummer / solstice / summer / Randi_Grov_Berger / review / march / arch / motorcycle / Kunstforum / Camilla _Brochs-Haukedal /


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