ReView - Exhibition & Gathering
ReView was a project I curated as part of the GSOI’s ‘sustainability’ themed programming for the International Year of Glass 2022, consisting of ReView - an Exhibition and Gathering in Hunting Brook Gardens, Blessington (September 10 - 11) and a documentary film of the same name. The film, shot and edited by Jenny Keogh is the legacy of the project and a standalone artwork in its own right.
Its concept was developed from the key challenge - what would a truly eco-conscious exhibition look like? Going digital is often the go-to response for projects claiming to be eco-conscious, but as wonderful as the digital experience has been for keeping us connected, our ever digitizing world can further disconnect us from the earth and real embodied experiences. We wanted to create an opportunity that was regenerative - not asking for more from artists or from the environment but instead breathing new value into existing work and shaping space for reflection and imagination.
Artists were selected to participate from an open call sent to GSoI 200+ members. To be considered, artists were asked to submit a short video proposing an older or unresolved artwork from their own collection that they felt warranted a review in fresh air and fresh light. The brief also stipulated that the artist must accompany their work in the landscape for the two days of the exhibition. The final selection of fourteen was supported by two guest jurors; USA-based artist and former Creative Director of the iconic Pilchuck Glass school Tina Aufiero, and award-winning gardener and owner of Hunting Brook, Jimi Blake.
The model was unique and captured people's imaginations for different reasons. For some, as we emerged from Covid restrictions, the outdoor nature of the event was appealing. For others the gathering aspect seemed like a welcome way to reconnect with the glass community. Whatever their reasons for applying, feedback from all taking part was overwhelmingly positive towards the concept and their experience.
‘I really enjoyed and was nourished and energized by working outdoors in a beautifully created, self-perpetuating garden of such splendor and adding the magic qualities of glass to it.’
A lot of collaboration was required between the artist and curator. Each exhibitor was given some ideas and suggestions for display in advance of arriving. Many people had never visited the site before, so deciding where to locate the work after a group walk became very exploratory. In my opinion, those who got the most from the experience were those who experimented with different possibilities and responded to feedback from peers and the surrounding landscape itself.
‘It was totally wonderful to meet everyone and do our walkabout together. Compared to just dropping off a piece and having no connection with fellow artists until opening night. Discussing places and possibilities was incredibly engaging, I loved it!
As a maker/curator I think things are usually at their most interesting when they appear to be ‘on the edge’ of one state and another. There is risk in this process, but that is what makes it exciting. By doing things differently we begin to see the latent potential in spaces or objects we’d stopped being curious about. This gave exhibitors new ideas and energy which amplified across ‘the gathering’ over the weekend. Once the work was up, all we had was time to think and chat and consider each piece. There was an immersive quality to it, not dissimilar to the atmosphere which can be found at an artists residency, enhanced by sharing meals and space together.
‘It was very inspiring to be with a group of women makers and discuss work that was made a while ago with new eyes. Looking at different perspectives and locations within the gardens for the pieces to be shown encouraged a collaborative and dynamic way of working through ideas.’
In many ways, the exhibition and how visitors experienced it was as an installation. Temporary interventions, in conversation with the landscape. Each objects’ placement developed a new ‘in situ’ story which only existed for the duration of our time there.
The film ReView is a wonderful documentary, telling the story of how light, landscape and lens gave these artworks a fleeting new life. As it moves from day to night the footage reveals each object. It is also a poetic response to the exhibition concept and the inherent tension we can feel as makers around our need to create with raw materials and the potential that might have on the environment long after we are gone. Through the video’s release online and as part of the Glass Meet the Future Festival led by Northlands, we were able to reach hundreds of people and in a different way, they were able to experience some of the magic of the weekend in an environmentally-light way.
ReView was a really special project, and something that I think the wider sector, if it is serious about sustainability and climate justice, could learn from. It showed that work did not need to be newly made to be innovative, and that we can do a lot with existing materials. This feedback puts it best:
‘The minute I read the concept I was so excited. There’s so much talk about the future of the art world and how the current way it works isn’t sustainable. This way of holding an exhibition was so hopeful, so positive. It is a template any art form could use to be more sustainable for our planet, to be more connected to nature and also helps bring communities together.’
This text, written by me - was first published in the Glass Society of Ireland Publication Glass Ireland 2023.
Copies of the publication can be purchased here
Cover Glass Ireland 2023. Featuring work by Roisin de Buitléir installed in the ReView exhibition. Image credit Jenny Keogh.
