press release

The highly acclaimed Dutch artist, Lidwien van de Ven, is hugely exact about the source of image she uses. She travels, finds imagery, makes photographs, researches continuously to investigate the complexity of political and religious circumstance across the world. Her relation to imagery is pivotal as she brings something of photojournalism into the art gallery but the way in which she takes a picture, makes a film, finds a text, and then displays the combination, allows a layered, sometimes poetic, reading to be established.

Van de Ven's commission for Bloomberg Space consists at one level in a very spare display. One film, one photograph, the image of a black square denoting a break, full stop, end and relief, and, a white square denoting an absent image. The context of a gallery allows a particular approach and range of associations to come into play. The huge photograph of cloud covered Merapi, the recently erupted Indonesian volcano, dominates, while the film, taken inside the enormous Istiqlal Mosque in Jakarta, shows the continuous incidental movement of people arriving, leaving, praying, waiting, chatting and folding cloth. Lidwein van de Ven's work here stretches the opportunity to allow aesthetic and artistic expectation to merge with how we live now. She challenges the relationship between news and nuance, the present and the past, in terms of the way information is and can be known.

Linda Quinlan's work investigates language and more specifically how we understand physical material through language. She is interested in the possible space that may exist between thinking, making and viewing an art work. She attempts to assimilate this process by establishing a kind of rhythm to be both heard and experienced throughout the installation. Quinlan describes this configuration as being 'articulated form and unarticulated sensation, participation and separation'.

For the commission at Bloomberg SPACE Quinlan has developed her ongoing investigation into the idea of 'sculpting with words'. Establishing a 'rhythmic rise and fall' throughout the installation, she tries to position the word as something both phonic and physical, to invoke a visceral experience.

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COMMA 32: Lidwien van de Ven
COMMA 33: Linda Quinlan