ARTISTS
ONLINE: The Void
The exhibition title draws its name from 鈥淭he Void鈥�, a song off the British DIY girl group, 鈥楾he Raincoats鈥�, debut self-titled 1979 album.鈥淭he Void鈥� was my primary commuting anthem the summer I spent as an archive intern at White Columns. I tried to carry the song鈥檚 idiosyncratic frustrated and elated energy into my process of sifting through the wealth of the artist registry for this show, and found myself most attracted to works that conjured up that same feeling for me.
The artists鈥� works included in 鈥淭he Void鈥� may not share aesthetic sensibilities or a common vernacular but do encompass a tenor akin to that of the offbeat ballad. The pieces similarly embody its conflicting tensions and cathartic releases鈥攕paces obscured, clarified, and thrust into perspective; the slippage of bodily aspirations and discontents; mementos and remnants and memorialisations; attachments to the everyday treasures and anomalies; mind maps and visualisations and threads of memory, enmeshed and intertwined; buoyed by absurdist humour. The works echo 鈥淭he Void鈥� through gestures of individual resistance and private celebration, reclaiming space from the voids inside and out.
A very special thank you to all the fantastic artists in the exhibition, to the whole team at White Columns, especially Erin, Brittany, and Matthew, for this incredible opportunity, and to fellow White Columns Online curators Ellie Rines and Francisco Correa Cordero for making opportunities like this possible for me.
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The exhibition title draws its name from 鈥淭he Void鈥�, a song off the British DIY girl group, 鈥楾he Raincoats鈥�, debut self-titled 1979 album.鈥淭he Void鈥� was my primary commuting anthem the summer I spent as an archive intern at White Columns. I tried to carry the song鈥檚 idiosyncratic frustrated and elated energy into my process of sifting through the wealth of the artist registry for this show, and found myself most attracted to works that conjured up that same feeling for me.
The artists鈥� works included in 鈥淭he Void鈥� may not share aesthetic sensibilities or a common vernacular but do encompass a tenor akin to that of the offbeat ballad. The pieces similarly embody its conflicting tensions and cathartic releases鈥攕paces obscured, clarified, and thrust into perspective; the slippage of bodily aspirations and discontents; mementos and remnants and memorialisations; attachments to the everyday treasures and anomalies; mind maps and visualisations and threads of memory, enmeshed and intertwined; buoyed by absurdist humour. The works echo 鈥淭he Void鈥� through gestures of individual resistance and private celebration, reclaiming space from the voids inside and out.
A very special thank you to all the fantastic artists in the exhibition, to the whole team at White Columns, especially Erin, Brittany, and Matthew, for this incredible opportunity, and to fellow White Columns Online curators Ellie Rines and Francisco Correa Cordero for making opportunities like this possible for me.
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