White Wanderer among the 10 sounds that defined 2017
Thank you to Alan Burdick, The New Yorker
Thank you to Alan Burdick, The New Yorker
Glass Curtain Gallery / Invisible February 26 – April 25, 2015
Invisible explores the extreme edge of legibility in works by Chicago artists. While many of the works in Invisible are large in scale, the scope of work will only gradually emerge as visitors make their way through installations of sculpture, painting, video and drawing. The exhibition explores the visual delight and intellectual intrigue we find in the discovery of works that are both material and conceptual. Artists include: Paola Cabal, C. C. Ann Chen, Jessica Hyatt, Luftwerk and Kathleen McCarthy. Curated by Annie Morse
Degrees of Lightness, Diptych, three layers of transparency film, color lighting, 42” x 42” x 10”, Luftwerk 2015. By overlapping three separate gradients of red, blue and green Degress of Lightness reveals grey-scale. Color changing lighting illuminates and shifts the spectrum of each color hue.
“… light and darkness, brightness and obscurity, or if a more general expression is preferred, light and its absence, are necessary to the production of color … Color itself is a degree of darkness.” Goethe
What do you do with a revered masterwork of the 20th century? Luftwerk casts INsite, as “an exploration of the philosophy of Mies through light.” The results are revelatory, reanimating our understanding and appreciation of this iconic structure.
INsite is a looping composition divided into three sections roughly corresponding to the structure of the house, the fluidity of its transparent glass walls, and the organic, where nature meets geometry. Luftwerk uses projection mapping, especially in the first movement, to highlight the horizontal structural steel beams that enable the glass walls to enclose the volume of the space with such an ethereal mass. Subsequent projections of abstracted patterns are like an artist’s MRI of the interior volume of Farnsworth, flooding it with images of fluidity created in their studio in a playful but systematic topographic investigation. In the last movement, color enters in and nature is projected within the volume of the house. Dappled sense memories from the daytime meld with the structural outline of the house, transforming it.
In a sense there are two Farnsworth Houses. There is the one that most people get to experience during the day, and there is Farnsworth at night. During the day, Farnsworth hovers above the grassy landscape and the glass walls provide a transparent view that is also subtly hermetic. Even though there is no visual barrier, interior and exterior are sealed off from one another. You are in nature but not necessarily “amongst” it.
At night, Luftwerk’s projections literalize the hover quality of the structure, highlighting the horizontal steel beams supporting the house but virtually eliminating through absence of illumination any connection to the ground. The house becomes unmoored. From the inside there is an epidermal transformation. The glass skin becomes reflective and the space expands fractally toward the indefinite. But beyond the glow of refracted light there is no landscape, no nature, only a primeval dark.
There is a story here, and it is one that Luftwerk wants you to experience not be told. If you could bottle the daytime Farnsworth, the magical feeling we all have as we walk around it, viewing from different angles, inside and out, and project it back on itself at night, without the “distraction” of the landscaping or the furniture – or the history – what would the house look like? How would it feel? The dots and squares and pixels are abstracted patterns of sunlight through the leaves of the overhanging trees and sunlight on water, referencing the nearby Fox River, the viscosity of glass, and the flow of time. What is Farnsworth now?
There is one other critical element to Luftwerk’s illuminating exploration of the philosophy of Mies, and it is the musical score of Owen Clay Condon. Condon uses a number of different instruments in his own sonic exploration of Farnsworth, but the key is his use of B as the resonant frequency of the physical distance between floor and ceiling – the height of the volume of Farnsworth. It is a sonification of the structure, which melds minimalist percussion with the otherworldly tones of a vibraphone to encourage a reverie of Farnsworth where past and present and future meet in a kaleidoscope of light and sound and remembrance and imagination.
What do you do with a revered 20th century masterpiece? You learn it. You map it. You illuminate it. You reflect it. You project onto it and into it. You play it. That’s INsite.
Steve Dietz, President and Artistic Director, Northern Lights.mn