Ian KiaerEndnote, ping (limb), 2019
Fan, plastic, electrical wire
516 x 26 x 26 cm, 203 1/8 x 10 1/4 x 10 1/4 ins
© Ian Kiaer
This single inflatable is sensitive to the entrance hall, hanging limp, it’s a soft, faded work, marginal in a space more usually reserved for more confident gestures. It stands or rather hangs as a fragment, an endnote which in this case quietly introduces the exhibition. ADDITIONAL INFORMATION This set of works has 3 main avenues of enquires : Michael Marder ‘environmental thought’, Samuel Beckett’s, short story Ping, experimental West Coast architecture from the early 70’s. The work of the philosopher Michael Marder, a proponent of ‘environmental thought’, which considers plants as living beings that possess their own forms of subjectivity. Marder’s work develops a critique of anthropocentric empathy towards plants. In preparation for the work, Ian has been visiting and making drawings in the prefabricated greenhouses at Oxford Botanic Gardens. Samuel Beckett short story, Ping, (1966) an embodied space where repeated words defy a linear reading in favour of something more spatial, material and rhythmic. "Ping" is a short story written by Samuel Beckett written in French (originally "Bing") in 1966, and later translated into English by the author and published in 1967. In ‘Ping’, Beckett restricts his vocabulary to around 100 words, although the story is approximately 1,000 words long. David Lodge has described it as: "the rendering of the consciousness of a person confined in a small, bare, white room, a person who is evidently under extreme duress, and probably at the last gasp of life." a hypnotic flow of words the meaning of which is initially utterly obscure. But persevere and patterns emerge: “moderate or good, occasionally poor later”/“white walls”, “one square yard”, “white scars”. In both cases, we soon realise we are within a system of words performing very defined tasks, albeit ones only understood by initiates. Quick City : West Coast experimental architecture. initiative Quick City, organised by architects Peter de Bretteville and Craig Hodgetts in Los Angeles. Focusing on temporary structure and inflatables. These works are development from an on-going project - Endnote, tooth; that Ian has been working on since the show at the Henry Moore Institute in 2014 and most recently for my show at MAM Paris, that presented propositions in the form of paintings, models, and fragments with a concern for certain ideas apparent in the work of Frededrick Kiesler. The architect developed a critique of formalist approaches to design and display in favour of increasingly biomorphic solutions and structures found in nature. The title refers to Kiesler’s “Tooth House,” a marginal project that relates to his more extended ‘Endlessness House’, where he drew upon a convergence of ethnography, science and magic to develop notions of dwelling. These particular works use the scratched, marked and stained surfaces of bus stop screens to prompt the emergence of the painted image.
ProvenanceCollection the artist, London, UK
ExhibitionsIan Kiaer, Endnote, Ping, Alison Jacques Gallery, London, 2019