The exhibition was so good that I had to turn around and go back into the gallery and look at it again. I don’t write this blog to gush about exhibitions but I feel compelled to write that this was the best exhibition that I’ve seen all year. I went back to Anna Schwartz Gallery the next day and saw it again. It is that good.
Why is it so fantastic? It has the charming aesthetics of bricolage combined with slightly banal illusions to a glamorous jet-setting life. Ian Burns combines video installation, sculptural assemblage and kinetic art. It moves. There is sound. It is a whole lot of fun. There are illusions and the magic behind the illusions is revealed. The three dimensional nature of these sculptural assemblages provides different information as you walk around them. On one side you see the video monitor with them image and on the other side you can see the image being created.
The way that they image is created is such a disappointment and so exciting at the same time. It is disappointing to realize that the images have been made so cheaply and exciting to see the effective ingenuity of how it was done. Simple camera and theatrical special effects have been employed.
The video illusions that Burns creates are comments on the superficial illusions of everyday life. Watching the sunset on a beach of golden sand while the waves gently roll in might look like paradise but the image is created from tiny video camera placed amongst a length of clear PVC pipe, a lightbulb and a mannequin holding a boogie-board posed like Botticelli Venus. Burns art asks if the image lives up to the bricolage of electronics, furniture, toys and other objects used to create it.
Burns combines his academic degrees in engineering and art. His use of materials is paradoxically both elegant in the solution and inelegant in the odd collection of ordinary household materials that his assemblages are made from.
Out of all Marcel Duchamp’s art that has been repeated and regurgitated by contemporary art, his very last posthumous work, has been not often been emulated. “Given: 1) the waterfall and 2) the illuminating gas” is a curious work. People hardly knew what to make of it, a diorama scene with a few illusions (the curators are surprised that the primitive motor driving the waterfall mechanism still works). To Duchamp’s “Given: 1) the waterfall and 2) the illuminating gas” Ian Burns adds “And then…”