Joined the group on the day of the presentation, for which they had chosen Aeneas Wilder. Videos of his constructions and subsequent destruction can be seen here (http://www.aeneaswilder.co.uk/video.html)
They chose a space in the Round Room in the Barnes and under the instruction of the brief chose a material no larger than a tennis ball, which was a ball of string. The proceeded to deconstruct the string, which held parallels in form with the room, both having circular properties, and harnessed and hooked the string onto parts of the room, connecting them with no more than the properties of the room, (a window ledge, the leg of a chair, a radiator pipe etc.) creating diagonals which redistributed the shapes within the room. A room based on the principle of the circle was cut into triangles and undefined geometric shapes. The quality of movement which had until then been flowing was no longer easily accessible, thus transforming the characteristic of the room and so too the meaning.
The final also reminded me of
Marcel Duchamp, Mile of String
1942, New York
'In 1942, Andre Breton organised a retrospective exhibition of Surrealist art in New York: First Papers of Surrealism. For the vernissage Marcel Duchamp created this installation – a gigantic web – called the Mile of String. He and Breton furthermore arranged for a number of children to ball in the room thereby making it very difficult for the guests to see the paintings.'
A room like this i.e. a gallery space, requires accessibility yet because it was a surrealist exhibition it seems entirely fitting that the space in which the work was exhibited should be inaccessible.
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