The Wharf Road Project brought more than 30 innovative contemporary artists and art initiatives together for the first time in a central location, creating a seminal showcase for the more unusual and innovative. The Wharf Road Project was not an art fair, but a large-scale exhibition featuring the best of London’s specialist and experimental art spaces, complemented by a programme of performances, screenings, music and guided tours.
Participants were each been allocated one of the 5-storey venue’s rooms to curate exhibitions which reflected their artistic endeavours and curatorial ethos.
Participants included: David Roberts Art Foundation, Martin Creed & Martin Westwood for V22, Carter Presents, David Risley Gallery, Event, The Hex, Parade, Seventeen Gallery, Stedefreund (Berlin), Supplement, Collecting Live Art, Everyday Press, Fieldgate, igloo, Linda Persson and Natasha Rees, PILOT:, Poignancy passing Muster, Tom Rowland Fine Art, Truck Art, MOT Presents: The New Dome, Fergal Stapleton courtesy of Carl Freedman, Laura White invites Alison Wilding, Bettina Buck and Phyllida Barlow, Peter Jones courtesy of Pizza Horse and the Fat Sisters, Frog Morris with Lee Campbell, Matt Williams, Dallas Seitz, Lisa Penny & Trevor Hall, Paul Pieroni
3-19th October 2008
The Wenlock Building 50-60 Wharf Rd Central London N1
Transporter is a large scale video installation consisting of multiple life-size videos projected in a darkened space. Each projection sees a person engaged in a typically private activity such as sleeping, bathing or day dreaming. The videos are projected onto plinths attached to the walls and floor of the space, offering simulated openings into other spaces and times.
The virtual nature of the openings and the ostensible simplicity of the movements of the actors create a contradiction within the experience; the viewer is at once exposed seductively to the intimate and personal behaviors of the persons within, yet simultaneously withdrawn from any real communication or to the simulated, minimal extent of the actions recorded. Thus nakedness and simplicity appear not so easily accessible as might first appear, producing an altercation that quietly forms a wall of silence between actors and spectators.
the nature of film and video concerns transportation to another reality or space, designed to engage a viewer. these videos seem to deny even that limited engagement, demanding the onlooker to pause and think, thus allowing more freedom for the individual to construe meaning for themselves.
The back space of the exhibition transports the audience from the video installation through an installation of pipes carrying a sound of wind to a room adorned with delicate drawings playfully depicting fantastical worlds and characters. This transformation in artistic form makes the exhibition in its totality a multi disciplinary compilation of works that tease the viewer, drawing them in but ultimately contemplating and pointing to someting else less tangible. the experience asks the viewer to focus their attention elsewhere; behind? out? inside? or perhaps someplace within our own thoughts and imaginations.