18 Oct HERE IS WHERE EVERYTHING HAPPENS – Mark Melvin
Du 27-10-2018 au 01-12-2018
VERNISSAGE: 27-10-2018 4pm > 7pm
The present or contemporary can be understood as a point where we postpone our decisions and actions in order to have more time for analysis, reflection and consideration, a time of indecision and delay. In his discussion on the subject he speaks of our today as ever more temporary, where the future is constantly newly planned and the past rewritten (through cultural trends, fashion, technology etc). Rather than the present being a stable transition from past to future it has instead become the site for the rewriting of both past and future.
HERE IS WHERE EVERYTHING HAPPENS, is Mark Melvin’s second solo exhibition at Yoko Uhoda Gallery. Once again Melvin explores the present through thematizing non-productive, non-historical, excessive time and presenting us with its passing. What can be seen in Melvin’s practice to date is a preoccupation with the work as process, and in turn repetition, sequence and rhythmic iteration have been key elements within his practice. In this exhibition the artist has curated together a body of new text-based, light, drawing and sculptural works whose overall agenda is to question our relationship with the present. The pieces on display are largely text based and share the same intention to arrest us at the moment of encounter with the work and focus us on the here and now inviting us to pause, read and decipher them.
The exhibition features a number of new neon works who function not always to represent anything outside themselves and often refer mainly to their own creation. These word plays populate the gallery like subtitles part- illuminated and flashing, inviting the viewer to follow the repetition of a malfunction, literally marking time. These propositions suffer in a state of a-teleological looping with no more of an agenda than to reference themselves. This process of looping that runs through the exhibition is not an expression of exasperation in the face of life’s inexplicable questions but rather, a memorialisation of the essential and universal truth of the statements on display.
Accompanying this is a series of Juliette balconies installed on blank walls without windows. Rather than attempting to absorb us through mesmeric, kinetic, flashing and repeating loops they employ other methods to fixate us on the process of deciphering the hidden texts they display. This language has been stretched to abstraction so that, at first, the viewer experiences what appear to be three architectural forms. However on further reflection they can be seen as comprised of texts speaking of a deferred presence.
In the numerous drawings on display, themselves the result of cycles of endless rewriting, erasing and repairing, there is more vulnerability and transparency than in the self-assured nature of the installations. In ink, erratic and loosely drawn by hand the layered texts offer up open statements. Here, texts which appear filled with deep suggestion ring hollow. They appear unstable, monuments made up of left over chips of rubber from the reiterative process of erasure.
Also or this exhibition, Melvin presents a sound work made in collaboration with his brother, composer Adam Melvin. Conversations overheard from passers-by are noted down, reduced, manipulated and scored to present compositions to be practiced and sung by three vocalists. In the resultant work it is unclear whether the truth of the original conversation has been lost in translation or is being uttered for the first time.
The viewer is guided through a succession of reiterative memorials in a variety of media. They echo one another; a constant reminder of the passing of time and our aspirations, regrets and memories in relation to it. Our momentary existence within a new ‘time’, directed by Melvin is contextualised by the surrounding philosophical concepts: locking us into a reflection upon the inexplicable, the existential and the mundane.