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<\/a>Guest in front of Jeremy Jansen’s Handlebars<\/em>, 2013<\/p>\nSoi sets the tone of the exhibit by narrating the main objective of the exhibition: the subjection of our bodies to the predetermined boundaries of space by linking Elias Canetti\u2019s \u201cfear of being touched\u201d, Rodney King, and Agamben\u2019s concept of \u2018Aparatus\u2019 with Jansen\u2019s current body of work. When I entered the thoughtfully curated exhibition space it became clear that, like Niall Mcclelland and Jansen\u2019s Barricades<\/em> (2011), the works challenge the audience to rethink how their bodies are required to move\/act in, as Soi puts it, \u201csupposedly free and open environments.\u201d<\/p>\n Jansen takes ordinary objects that we find in public space and after a labour-intensive process of erasure through polishing; he places them in the context of a gallery in order to generate open, unrestricted, dialogue and reflection.<\/p>\n \u00a0Although we are given the context to understand the straight-forward dialogue regarding constrained conduct in open environments, Jansen also leaves room for the audience to consider a few other themes, including: the everyday\/mundane, form, minimalism, pretension with a purpose of critique (and, potentially, Socratic irony), as well as whimsy (Jansen\u2019s bird was nibbling on grains along the ceiling banister).<\/p>\n<\/a>Installation view with Pipe <\/em>and Nails<\/em>, 2013<\/p>\n<\/a>Artist Jeremy Jansen in front ofPortrait, 2013<\/p>\n<\/a>Installation view with Gate<\/em>, 2013<\/p>\n