Anonymity and cultural identity

    

"An exhumation of the Wreck of Hope (No man is an island)"

So I was passing by The Bernard Shaw near Camden street and saw this installation run by a collective called Art Lot. 

Based in Manhattan, the Dublin initiative of it, notes how it aims to "transform a derelict site into a platform for art".

 A year long project , this initiative shed some light on a growing trend within the city to reclaim such derelict sites.

 Now I'm aware of many views of such that this is encouraging only people to de politicise such spaces under authoritative control.

Yet I personally welcome projects such as this, they engage , they challenge you and more importantly allow us to have opinions. Had such a space been left as it was , there would be no questioning of why is it vacant on a day to day occurrence.

Derelict sites such as this, are indeed symbolic of the extent to which we have suffered many constraints both financially and emotionally as a nation in these times.

 Yet it is essential that in order for us to reclaim our sense of hope for a more sustainable way of living, we do not forget ..ah yes Hope! 

We often forget to not be wrapped up by the hectic, yet somewhat monotonous pace of city life.

So I personally welcome such projects that inhabit these spaces which were previously derelict. 

Even more so it gives these dormant spaces a voice for questioning representations through means of manipulating their original function.

C o n t e x t

It was interesting to note before researching the identity and process behind this piece, that a spectator commented how they thought it was a iceberg in reference to symbol of global warming.

You cannot simply walk past pieces making such strong visual statements as this, you need to connect with it on a much deeper level.

This interaction between thought and questioning is what I greatly admire and think only a strong emotive piece of work can evoke. 

References are sought primarily from Casper D. Friedrich's painting" The wreck of hope/The sea of Ice" (1824), and John Donne's poem " No man is an island" (1624).

The archaic structure indeed is at the same time , an asymmetrical integration of two opposing movements. 

It is indeed replicating and also capturing the kinetic movement of the " rising and collapsing" sensation the eye sees as it travels through the dips and rises of this structure. 

R e s p o n s e

Artist Neil Carroll's response in this piece voices how it is "..not a plea for 

an idealistic return to some better place or time..nor the future".

This again reinforces how change is inevitable yet not a fragmented aspect of a life which cannot sustain from dreaming of a better time than which we currently live in. Carroll's piece here is also demonstrative in the "realistic recognition of the physical limitations of a human who is subject to structures and forces". 

You cannot physically touch nor walk into this space. It is enclosed on all sides, only visible through the green bars of the gate . 

This for me is a rather interesting play too on the notion of desire. 

From infants, we are instilled with a primitive urge to touch what we see. This impulsive instinct to do so with this installation indeed creates "..a physical limitation".

Yet as suggested it is not simply offered as a map of undetermined routes but a symbol of exploring the infinite possibilities through which unknown journeys our instincts take us to.

Concepts of identity and self-expression for me, is  very much respectively a similar concept amongst other artist's. In particular Barbara Kenezvic's  installation "things as I imagined them" springs to mind.

 A series of long white duffel pillows are placed in a unorganised mound, but with two pillows isolated on it's own. For me I interpreted this a reflection of how society has placed a heavy emphasis on the pressure to fit into an assigned mould. 

The mound is very much symbolic of "the bodies of society" who have succumbed to this social demand of limiting our self expression ; comprising it for an superficial assertion of how we are all where we should be in life. 

Knezevic's concern of the limitations and the constricted suppression associated with this, are akin to Carroll's concept of disengaging from such constrictive means of self expression, and travelling.

So I ask you all to contemplate these possible views on society. I also would encourage you to contemplate the means of using such spaces. 

Yes, utilising them as a cultural symbol , conveying an introspective take on society and being so much more than an act of depoliticisation.

 To dissuade others , from the negative connotations of seizing vacant sites temporarily, from the clasp of authoritative reign and show the positive impact it can have.

Mary X

 Note: All images taken by me with exception to last image.

Sources: 1. ( Quotations) http://artlotdublin.wordpress.com/neil-carroll/

             2. ( Image)" Things as I had imagined   

 them" http://www.barbaraknezevic.com/index.php?/2011/3/)

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