P r o j e c t s

La La Land

9th May to 2nd July 2005

Project Arts Centre, 9 East Essex Street, Temple Bar, Dublin 2, Ireland

La La Land was an exhibition without a theme: a show about being out of it, beyond the exhibition as a unifying structure. The works had their own internal logic and were selected not for their similarities but for their differences, so that each takes on a particular role within the spectrum of the whole. While they were situated in the gallery and carefully designed for the different planes of the space, they exited the white cube by consciously referring to an elsewhere.

Liam Gillick’s Discussion Island Preparation Zone. The cleaning of the gallery floor with gold and silver glitter prepares the exhibition in expectation of the viewer.

Ronan McCrea’s temporary street architecture Appropriate Measures II was placed into the white cube and became the replacement wall for Jaime Gili’s selection of artists fly-posters. Lothar Götz’s bright geometric wall paintings mimicked the ambitious scale of public murals; and the array of pinheads stuck into David Blamey’s mounted Celestial Notice Boards read like the sky at night.

Meanwhile up above, the ceiling was turned into an area of free form pattern and decoration by Kathrin Böhm’s pasted up posters. From her on-going project ‘millions and millions’, Böhm selected posters from her archive of prints to produce a slight intervention in the gallery that is both pictorial collage and spatial transformation.

Other works in the exhibition exit the space via the detailed cataloguing of an elsewhere that forms the subject of an archive. The curatorial duo, B&B organised a workshop in archiving, which took place on June 17th in Project. Valley Vibes, conceived by Jeanne van Heeswijk in collaboration with Amy Plant, was an urban research project containing a mobile sound system, which was used by individuals and organisations in the Lea Valley area of London. Hundreds of hours of audio material generated by the users was collected over a period of four years.

Anthony Gross’s animated film Crowd Roar Ascending is a virtualised dystopic narrative, produced using 3D game software and digital props purchased from on-line communities.

Adapted from the press release.