The Moon is an Arrant Thief
This event has now finished. Until Sep 18 2010
Time Out says
A provocative and engaging show, this, if perhaps slightly over-egged. You can understand why, though: stemming from a competition between students on Goldsmiths MFA Curating course, the exhibition is a chance for the winner(s - a curatorial triumvirate) to show off their ideas, and to really make their mark in a mainstream gallery context.
The theme is certainly ambitious: 'dematerialised' works; works that hover between idea and object, that border on the invisible. Or, to put it another way: 1960s conceptualism redux. To be sure, the most successful works are those dating from that period, such as William Anastasi's gallon of black paint poured down the gallery wall, or Robert Barry's instructions for a virtually imperceptible sculpture - pieces that seem smart yet understated, that carry their historical significance lightly.
The problems come with the contemporary works - all of which stem from the last half-decade, as if no work of this ilk was made in the intervening 40 years. Plus, several of them are simply rather disappointing: Edith Dekyndt's untethered balloon, for instance, meant to signify flux and contingency, but which actually rests motionlessly by the ceiling, or Bradley Pitts's enticingly titled 'The Weight of Voids', which turns out to be a catalogue for an exhibition called 'Voids' placed on an electronic scale.
Throughout, there's a vague sense of shoehorning in works simply for the sake of illustrating the curators' thesis. And yet, there are also some really neat little pieces, where the final work is more than simply the index to an idea - especially the Morse code-like sound piece by Ricardo Cuevas, documenting an act of transcription and Joëlle Tuerlinckx's wonderfully innocuous perimeter made from hundreds of tiny, hole-punched paper circles, their arrangement gradually dispersed by viewers' feet.