Phyllida Barlow. Rig: Untitled; Blocks: What If Women Ruled The World? Part 4
EM危T and NEON are pleased to present a major, monumental installation by Phyllida Barlow (1944鈥�2023), from the D.Daskalopoulos Collection, making it the first presentation of the artist鈥檚 work in Greece.
Inspired by her urban surroundings, in the late 1960s, Barlow began to incorporate into her sculptural idiom a wide range of ordinary yet unorthodox materials such as cardboard, concrete, plywood, plaster and fabric. Assembled into large-scale, three-dimensional 鈥渟culptural collages鈥�, these attest to a deployment of diverse strategies, including accumulation, compounding, juxtaposition, reuse and destruction. The diverse, low-end materials, often complemented by a palette of vivid colours, bear the visible marks of the creative process. They have been cut up and punctured and warped; they have been piled together and suspended from above in the context of a practice that systematically seems to push the boundaries of how sculpture is traditionally produced and viewed, as well as to how it relates to architecture and the notion of space.
Barlow belongs to a generation of British artists that came of age during the Cold War in Britain and she would often recall visiting London鈥檚 East End as a child, an area which had been razed to the ground in the bombing raids of WWII. Her sculptural practice thus engaged in dialogue with shifts in the urban fabric: through, as she would say, 鈥渁 particular archaeology which absorbs present, past, and future: damage, reparation, renewal, reconstruction 鈥� these are in an ever-evolving lifecycle which mirrors the decay and renewal of the natural environment.鈥� Seen in this light, her large-scale installations, seemingly precarious and more often than not incomplete, attempt to rethink the boundary between the monumental and the anti-monumental.
Rig: untitled; blocks (2011), on loan to EM危T from the D.Daskalopoulos Collection, forms part of a broader series of works titled RIG, created in 2011 and presented in the artist鈥檚 homonymous exhibition of the same year. As Barlow herself explains, 鈥淩IG as both a verb and a noun is an ambiguous term, suggesting a fleeting gesture of improvised repair or the result thereof: 鈥楻igging something up鈥� implies a kind of temporary gesture. I think the verb 鈥榯o rig鈥� is both to fix something slightly fraudulent but also to improvise with a way of fixing something.鈥�
The installation Rig: untitled; blocks occupies the Museum鈥檚 largest exhibition space. An imposing, densely populated assemblage of colourful sculptural objects, almost ten metres high, it unfolds across the room interrupting the routes of viewing and redefining the terms by which the exhibition space and its particular parameters 鈥� its height and volume 鈥� are perceived and experienced. The installation鈥檚 equivocal (non)monumentality plays out in sharp counterpoint to the mundane, often playful quality of the materials, whose specific blend of the buoyant and the sturdy, as much as their precariousness and exaggerated scale, seem to undermine the very laws of gravity, balance and symmetry.
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EM危T and NEON are pleased to present a major, monumental installation by Phyllida Barlow (1944鈥�2023), from the D.Daskalopoulos Collection, making it the first presentation of the artist鈥檚 work in Greece.
Inspired by her urban surroundings, in the late 1960s, Barlow began to incorporate into her sculptural idiom a wide range of ordinary yet unorthodox materials such as cardboard, concrete, plywood, plaster and fabric. Assembled into large-scale, three-dimensional 鈥渟culptural collages鈥�, these attest to a deployment of diverse strategies, including accumulation, compounding, juxtaposition, reuse and destruction. The diverse, low-end materials, often complemented by a palette of vivid colours, bear the visible marks of the creative process. They have been cut up and punctured and warped; they have been piled together and suspended from above in the context of a practice that systematically seems to push the boundaries of how sculpture is traditionally produced and viewed, as well as to how it relates to architecture and the notion of space.
Barlow belongs to a generation of British artists that came of age during the Cold War in Britain and she would often recall visiting London鈥檚 East End as a child, an area which had been razed to the ground in the bombing raids of WWII. Her sculptural practice thus engaged in dialogue with shifts in the urban fabric: through, as she would say, 鈥渁 particular archaeology which absorbs present, past, and future: damage, reparation, renewal, reconstruction 鈥� these are in an ever-evolving lifecycle which mirrors the decay and renewal of the natural environment.鈥� Seen in this light, her large-scale installations, seemingly precarious and more often than not incomplete, attempt to rethink the boundary between the monumental and the anti-monumental.
Rig: untitled; blocks (2011), on loan to EM危T from the D.Daskalopoulos Collection, forms part of a broader series of works titled RIG, created in 2011 and presented in the artist鈥檚 homonymous exhibition of the same year. As Barlow herself explains, 鈥淩IG as both a verb and a noun is an ambiguous term, suggesting a fleeting gesture of improvised repair or the result thereof: 鈥楻igging something up鈥� implies a kind of temporary gesture. I think the verb 鈥榯o rig鈥� is both to fix something slightly fraudulent but also to improvise with a way of fixing something.鈥�
The installation Rig: untitled; blocks occupies the Museum鈥檚 largest exhibition space. An imposing, densely populated assemblage of colourful sculptural objects, almost ten metres high, it unfolds across the room interrupting the routes of viewing and redefining the terms by which the exhibition space and its particular parameters 鈥� its height and volume 鈥� are perceived and experienced. The installation鈥檚 equivocal (non)monumentality plays out in sharp counterpoint to the mundane, often playful quality of the materials, whose specific blend of the buoyant and the sturdy, as much as their precariousness and exaggerated scale, seem to undermine the very laws of gravity, balance and symmetry.
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