{"id":8872,"date":"2012-04-03T10:07:53","date_gmt":"2012-04-03T14:07:53","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=8872"},"modified":"2012-11-30T14:15:41","modified_gmt":"2012-11-30T19:15:41","slug":"tasman-richardson-necropolis-2","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=8872","title":{"rendered":"Tasman Richardson: NECROPOLIS"},"content":{"rendered":"

MUSEUM\u00a0OF CONTEMPORARY CANADIAN ART<\/strong>
\nFebruary 4 – April 1, 2012<\/p>\n

Tasman Richardson is a video and multi-media artist based in Toronto. He has exhibited and performed his work all over the world including Europe, Africa and Asia. Richardson\u2019s artwork focuses on entropy, tele-presence, appropriation and JAW editing (which he founded), often using grim imagery. JAW editing consists of video cut ups used to create a possible narrative.<\/p>\n

\"\"<\/a>Tasman Richardson, Memorial<\/em>, Necropolis installation excerpt, 2011. Courtesy of the artist \u00a9 Tasman Richardson.<\/p>\n

The title of the exhibition itself, Necropolis, is a Greek term referring to a large cemetery or historic burial ground. This title seems ironic because Richardson\u2019s multi-media exhibition involves bright colour, sound and the human ability to use his\/her sight, perception, and touch in order to navigate through this shadowy trail. Once inside the gallery, the attendant will advise each viewer to proceed with absolute caution as it is dark, and those who are epileptic are not permitted to enter. Following this warning from the gallery attendant, the curious yet apprehensive spectator wanders into the blackened space, illuminated by a series of eerie video installations. The first work to be seen involves a slow and steady climb through numerous television sets. This installation piece named Forever Endeavor<\/em> involves two separate screens facing each other, one depicting the late child actress Heather O\u2019Rourke<\/em> from the film Poltergeist<\/em>, while the second screen illuminates the face of actress Naomi Watts<\/em> from the film The Ring.<\/em> These two actresses are frozen amongst evil scenes within their horror movies. Although these films were created twenty years apart, each of the females are haunted and victimized by ghosts through television. Being familiar with both these chilling films, as a spectator I begin to feel a subtle sense of panic.<\/p>\n

\"\"<\/a>Tasman Richardson,Forever Endeavor, 2011.\u00a0\u00a0Necropolis installation excerpt, 2011. Courtesy of the artist \u00a9 Tasman Richardson<\/p>\n

At this point the exhibition becomes severely dark and one must step over what seems to be a glass walkway sitting atop what looks like a sheer twenty-foot drop. This sense of panic now intensifies as the viewer realizes he\/she must step over this glass plank. In order to successfully navigate through this black tunnel viewers must use their sense of touch by grazing and stumbling into walls. Finding one\u2019s way around Necropolis is as confusing as it is frustrating, as you will begin to question the very basic details of perception, feeling lost at many times in Richardson\u2019s dark passageway. Within this passageway Richardson<\/em>\u2019s work titled Parsec <\/em>propels coloured light shooting out on both sides of the spectator, creating a visual play on colour and space perception. Following Richardson\u2019s Parsec piece is his Memorial installation a marker in which one is nearing the end of this exhibition. This work consists of a circular Rose Window, similar to the one housed in Notre Dame\u2019s cathedral. Within this Rose Window are small scenes of the remaking of Joan of Arc<\/em>, consisting of head and shoulder video portraits of men and women. The faces of these men and women turn away from the dire fire located in the middle of the window. These faces act as personifications of Joan of Arc, who was famously burned to death as a culture of people became convinced she was an evil witch.<\/p>\n

\"\"<\/a><\/p>\n

Tasman Richardson, Memorial, 2011.\u00a0\u00a0Necropolis installation excerpt, 2011. Courtesy of the artist \u00a9 Tasman Richardson<\/p>\n

With much of the exhibition I was more concerned with navigating through the dark passageways than focusing on each individual installation piece. Many of the pieces with the exception of Forever Endeavor <\/em>and Memorial<\/em> were difficult to connect with on a conceptual level. Forever Endeavor<\/em> and Memorial<\/em> had obvious conceptual parallels dealing with notions around evil spirits, humanity, and mass culture manipulation, whereas other works did not suggest this as obviously.<\/p>\n

The most effective aspect of this exhibition is Richardson<\/em>\u2019s approach in allowing one to use their perception and senses. In order to navigate through the exhibition one is often getting lost in corners amidst the darkness. However, the blackened architectural layout of the exhibition facilitates frustration, subtle panic and anxiety amongst its viewers, loosing their appreciation for the complex and visually playful installations. It seems when viewing this exhibition people\u2019s priority lies within one\u2019s ability to navigate through the exhibition than deconstructing the work of art.<\/p>\n

By: Amanda Pignotti<\/p>\n","protected":false},"excerpt":{"rendered":"

by Amanda Pignotti<\/strong><\/p>\n

MUSEUM OF CONTEMPORARY CANADIAN ART<\/strong>
\nFebruary 4 – April 1, 2012<\/p>\n

the blackened architectural layout of the exhibition facilitates frustration, subtle panic and anxiety <\/p>\n

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