A few practical things to note.
Chelsea galleries are free and open to the public for business. Everything is for sale. Galleries are commercial, not non-profit, art spaces. Staff should be helpful, if not always the most friendly. When you visit a gallery you shouldn’t be intimidated about asking questions. That is the staff’s role. There are press releases, info on the artists and also price lists available at the front desk (sometimes you have to ask for these). There is always a “back room” for art storage and presentation where additional art by the artist(s) on view is kept for collectors as well as work by other artists represented by the gallery or that is for sale on the secondary market (resale) for the gallery’s clients.
Here is a list of the 5 gallery shows that we attended yesterday.
Daniel Canogar “Trace” at Bitforms Gallery 529 west 20 st, 2nd floor
Chris Doyle “Waste_Generation” at Andrew Edlin Gallery 134 Tenth ave
Abelardo Morell “The Universe Next Door” at Bryce Wolkowitz Gallery 505 west 24 st
Mary Temple “Among Friends and Enemies” at Mixed Greens Gallery 531 west 26 st
Roxy Paine “Distillation” at James Cohan Gallery 533 west 26 st
Blog assignment: Note the mediums the artists are working with and what techniques/artistic processes they are using. After having listened to Daniel Canogar and then reading the press releases (you will find on line at gallery website) for all 5 artists: what the sources of the artists’ inspiration for this work? Why? What experience or ideas are the artists sharing/communicating? What relationships do you see between these 5 particular artists’ works? I am thinking of the themes in their work and their choice of materials and/or technologies.
The 2 other artists we saw in the back room of the James Cohan Gallery were Fred Tomaselli (He imbedded the pills, pot leaves and other collage elements into the painting of the scorpion. Tomaselli is having a retrospective at the Brooklyn Museum right now; which I highly recommend you go see.) The wall painting is by Sol LeWitt. Assignment: After researching their practice and importance, you can put them into your e-portoflio. Those of you who left class early or missed me talking about them, please do some homework on these 2 artists. They are very important.
I also offered to give you a list of my top galleries in Chelsea in case you want to go visit more shows: 303 Gallery, Tanya Bonakdar Gallery, Jack Shainman Gallery, Marianne Boesky Gallery, Barbara Gladstone Gallery, Cheim and Read, PPOW, Brent Sikkema Gallery, Galerie Lelong, Sean Kelly Gallery, Lehman Maupin, Luhring Augustine, Pace Gallery, Yancey Richardson, Gagosian Gallery, Mary Boone, David Zwirner — besides the 5 we visited….
Daniel Canogar raids dumpsters near his home in Madrid in hopes of finding discarded pieces of technology. His inspiration comes his interest in the “archaeology of new media” and his motive is to combine art and life. He aims to give new meaning to the castoffs that finds by bringing them back from the dead.
Chris Doyle calls his exhibition Waste_Generation because it implies both an action and an identity. The theme of his work is the cycle of consumption and transformation. His inspiration comes from the fact that everything we use accumulates in useless waste. Using hand-drawn digital animation, Doyle seeks to show the audience that everything in the world must adjust through beauty and design. His goal was to explore the role of ornament in history and how it is used to represent nature in different cultures. Personally, Doyle’s installation reminded me a lot of William Kentridge’s films except with color.
Abelardo Morell combines photography and optics to bring the outside inside. He accomplishes this by blacking out the windows and leaving an aperture that transforms the interior into a camera. The Universe Next Door proves Morell’s obsession with the passage of time. He deliberately makes his photography appear like a vague memory or hallucination to change our perception of time and space.
The objective of Mary Temple’s Among Friends and Enemies is to distinguish between truth and doubt. Her focus in this exhibition is on current events and the role value and power plays in it. In her ongoing Currency series, Temple draws a new portrait of a world leader and places it on the paper (high or low) depending on her perception of the event. This dynamic piece serves a dual purpose: it chronicles time and allows her to make sense of the overwhelming and often conflicting headlines. Currency is paired with Temple’s Screen Test because the portraits are similar to the ones on bank notes.
Roxy Paine’s Distillation begins at the entrance of the gallery, pierces through the walls and extends all the way to the back of the gallery. This work explores the clash between the natural and industrial world by combining elements from both. Valves and chemical plants are constructed next to blood vessels, neurons, and a pair of kidneys. Distillation is a metaphor of Paine’s alchemical thought process in which he reached the conclusion that purity through distillation is an impossible goal.
MELISSA BUCKLEY
Daniel Canogar Trace
Canogar uses found electronic materials as the foundation of his pieces, projecting moving light images onto them to create an interactive, “phantasmagoric” experience. He informs the traditional ready-made with allusions to contemporary culture and consumerism in “Spin” and “Dial M for Murder”, commenting on our society’s ability to discard pieces of art encoded on electronic materials. In “Spin”, Canogar projects short clips of 100 DVDs onto their mirrored, spinning surfaces, creating illusory reflections that remind us of primeval forms which are projected back onto the opposite wall. “Dial M for Murder” features an installation of VHS tape from Hitchcock’s film, onto which the artist has precisely projected moving lines of light invoking the human circulatory system and otherwise fluid, kinetic energy. He wants to communicate a sense of the fleeting, transitory qualities of visual experiences as perceived by our memories and collective experiences as a consumerist society.
Chris Doyle Waste_Generation
The main piece in the exhibition is Doyle’s hand drawn animation piece “Apocalypse Management” depicting the destruction and evolution of a city as it changes and conforms to the struggling adverse forces of nature and industrialization. Doyle created this piece in reaction to the events of September 11, working with the concept of devastation and subsequent rebirth. He puts emphasis on ornamentation and symmetry in his drawings, perhaps expressing his desire for order and balance in the otherwise irrational chaos of waste and destruction. Like Canogar, Doyle is in tune with our society’s ability to waste resources and exploit nature’s rational order, shown in the various representations of leaves and vines as decorative ornamentation.
Abelardo Morell The Universe Next Door
Morell works in camera obscura, using a small hole in an otherwise sealed window to create an aperture, transforming the room into a camera. The outside image is thus projected inside in a process that is captured in an instant by digital photography, although it takes a lot of time for enough light to enter the space and produce a visible image. He plays with the concept of timelessness, choosing locations that remain iconic in common culture and world travel. The image of Times Square was particularly fascinating to me, with its juxtaposition of the bright neon light and bustling crowds outside projected onto the private humble space of the hotel room. It is interesting to see the relationship between the outside inside world, lending Morell’s pieces an interesting form of site-specificity.
Mary Temple Among Friends and Enemies
Temple’s exhibit features hand drawn portraits of figures in the news, selected each day by the artist and placed on the page according to her view on the impact their actions will have on world events. Because a new portrait is added everyday, the gallery is always changing to reflect new events and new faces, adding a specific temporality to the entire show. Also included are Temple’s screen prints, which feature images of President Obama in seeming conversation with Lincoln, translating history into contemporary events and issues. The gallery also has a sculpture installation of a beaver pelt and crumpled paper, providing commentary on the Astor family relationship and controversy surrounding the only son and his forging of Brooke Astor’s signature. Temple’s exhibit relates her views on contemporary and past events, showing her insight and opinion on the changing circumstances of our world.
Roxy Paine Distillation
Paine’s installation piece runs through the entire gallery, creating the sense of a living and growing being existing as part of the interior space. The steel body includes many objects indicative of alchemy, such as flanges, vessels, and tanks of varying size and finish. The entire piece presents as some kind of circulatory system, able to bring material through the sculpture itself. In another room of the gallery, Paine has created intricate simulacra of fungi, relating the natural world to the brash industrialism of the steel sculpture. The two pieces work in harmony while still maintaining separate entities, highlighting the relationship between what is real and what presents itself as real. The piece has a strange, somewhat grotesque feeling, inviting the viewer to closer inspection of the deformities of the steel.
All of the galleries we visited dealt with the passage of time and the transience of material goods in contemporary culture. Each gives a specific view point on consumerism and the modern cultural experience.
Daniel Canogar’s “Trace”
In both of Canogar’s works, he tries to encompass the ephemeral qualities of the moments in our lives by using technology that brings quick, fleeting images onto his works. He uses materials he gathered from dumpsters, often collecting objects uncaringly discarded or put up for flea market sales. He rediscovers life in these forgotten objects by creating motion works directly onto them. In Dial M For Murder, he uses VHS tapes and specifically programmed video projection to create a reflective visual illusion that almost invokes the image of a living organism. In “Spin,” he projects short video clips right onto the thrown-out DVDs he has collected, which have been displayed in disarray. When the video clips are projected against the wall on the opposite side, however, they are slightly deformed, some being larger and clearer, others being smaller, twisted, and harder to perceive. These projections even seem to resemble the human eyes, each one perceiving a different image at a different time.
Chris Doyle’s “Waste_Generation”
Doyle’s work Waste Generation reflects on the incessant cycle between the nature and industrialism. His work is in the form of animation, thus giving a particular emphasis on the evolving nature felt throughout. Some of his images include intertwined vines, city-like landscape drawn on a patterned background, and many four-sided symmetries, constantly transforms into yet something else. Doyle’s idea coincides with that of Canogar’s, in that they both show resentment towards the wasteful, destructive quality of modern society. Moreover, Doyle especially focuses on symmetry; he resents the way the world seems to seek beauty in only symmetry and rationality, as opposed to the free-growing quality of the nature.
Abelardo Morell’s “The Universe Next Door”
Morell’s photographic works combines a very formal, enclosed setting with the free, unrestrained view of the outside landscape reflected off the window. He manages to capture the two contrasting images into a single view through the use of the camera obscura, placed in front of the room’s aperture hole. The beauty of his works is in the ambiguous aura of time and space. He obscures the sense of the passage of time in order to emphasize the ambiguity. Moreover, his photographs present such a distinct contrast between what is directly placed in front of us and what is reflected on the wall, to the point where it almost seems ironical. This irony, seen from another perspective, also exists between the things that occupy most of our lives and the things that are often neglected; we barely get a chance to appreciate the nature or the surroundings.
Mary Temple’s “Among Friends and Enemies”
Temple brings every day world events into her own work Among Friends and Enemies. Each day, Temple draws a portrait of a world figure that has made an impact on the world, either positively or negatively, accompanied by a short caption at the bottom. Her work now accumulates to a large scale calendar-like display of portraits of world figures, each day exhibiting its own figure. This appearance resembles a musical notation where the notes come together to create a smooth flow of wave with its highs and lows. The fact that she manages to embody her own view on these world events make her work even more unique. Her work also encompasses the idea of changing times and the evanescence of our world, where new events and changes never seem to come to a halt. Another of Temple’s work in the gallery is the printed images of Obama on $5 bills, which is significant in that Temple is interpreting her own perspective on Obama in an interesting, diverse way by drawing Obama so that he seems to be communicating with Lincoln.
Roxy Paine’s Distillation
Roxy Paine’s work is abstract and ironical. Distillation is a process to find purity, yet his definition of distillation, seen throughout the entire range of space, seems to contradict the denotation; his installation gives off a feeling of strong industrialism. The shape of Paine’s structure clearly indicates that of the human organs, but curiously enough, it is created with manmade and artificial materials such as steel and paint. The basic idea behind her work is again the clash between the materialistic human society and the nature. We also saw a wall installation, which was quite a peculiar mixture of both the natural and unnatural. In this work, he depicts especially the types of fungus that are toxic, embedded together with psychoactive pills. This illustrates the uncomfortable fight between the two forces, one artificial and the other natural.
In all of the works that we viewed, what seemed to be the most prevalent idea was the collision between the nature and society, the real and the fake, the natural and the unnatural. What I perceived as interesting was that none of the artists exactly pinpoint a side to be superior to the other; they merely present the irony between the two existing forces and leave it as it is, without specifying the authority of one over another.
Daniel Canogar is an installation artist; we saw his work at the Bitforms gallery. His two works that we saw both used mixed media, projections, and found objects. In the first, he projected a sort of light show on suspended VHS tape of Alfred Hitchcock’s film Dial M For Murder. In the second, he projected scenes from various films on the underside of their discs, creating a reflection on the facing wall. Mr. Canogar is inspired by the themes of impermanence and discarding, of trash and obsoleteness. He sees that paths we humans take into old age as similar to the that of the march of technology towards obsoleteness. Mr. Canogar notes the amount of work and human thought that goes into the production of a VHS or DVD, only to be casually discarded as the digital age marches on. He has an affinity for the discarded and rejected, and it is reflected in his amazing work.
In Chris Doyle’s animated short “Waste Generation,” we again see trash and time as recurring themes. Doyle paints a scene of constant growth and failure, boom and bust between the forces of urban life and nature. Cities rise, creating vast expanses of trash and refuse—but then nature reclaims it, defeating the legacy of man, only to have man come back again to try and make a new permanent impression on the earth’s surface. Of course it isn’t permanent, and it leads one to ask: what is the real legacy of man? The towering monuments, or the piles of trash? Which hold more secrets? Which are truer representations of man?
In Abelardo Morella amazing exhibit, we see cityscapes reflected onto walls and furniture, ghostly apparitions of urbania appearing on hotel décor. Morella creates these photographs with long exposure times and a single hole in his walls. These photographs are not just masterly crafted, but also thematically interesting. We see art done by neglect, art done by not doing; the very nature of the art requires Morella to be absent. He creates ghostly images of these cities—they appear as apparitions or fleeting impressions. Unlike the other artists, here he is celebrating the permanance of these cities by showing the viewer the iconography, which unlike the bricks and mortar, can last forever.
Mary Temple’s “Among Friends and Enemies” is an exploration of the news and the media, a study of the current events of our day. Consisting of sketches on paper, as well as printing of a sketch on currency, Ms. Temple is distilling the news, which seems so complex and intricate, to its essence—the actions of individuals. However, like the other artists, she is also concerned with the march of time. A new sketch is put up every day, and each one limits the affect of the every other one. Despite the momentous nature of the previous days events, new events keep occurring. The actions of our leaders, no matter how they seem, are impermanent.
Roxy Paine’s Distillation, the viewer is confronted by large installations of metal piping, winding throughout the gallery. Here again, the natural world clashes with the industrial. These are intestinal and vascular, yet made of metal. The pair of kidneys is connected to a most unnatural grid. Like the first two artists, nature and the industrial clash, but also have a sort of combative harmony.
Fred Tomaselli’s work is psychedelic and eternal, space operatic and epic, abstract and amazing. His art is confoundingly complex and ironically busy. Almost mosaic like, the art is celebratory of nature and the cosmos, but casts the images in a very unnatural manner. The colors are combatively unnatural, but the images are of the natural world—until they aren’t, until they are like nothing else, like visions of another reality.
Sol Lewitt is a minimalist. His art is of shapes and colors, forms more than ideas. His art has strong lines and minimal adornment. He reduces forms to their essence, creating perfect shapes—unnatural in their perfectness.
Daniel Canogar, “Trace”
Canogar uses discarded electronic materials in his art such as VHS tapes, cables, computers, and CDs that he finds in dumpsters near his Madrid home in hopes of “reanimating” them and giving them life anew. He calls upon his own fear of becoming obsolete in his work, taking “outdated” technology and bringing them back to life to give them value.
Chris Doyle, “Waste_Generation”
A hand-drawn digital film called “Apocalypse Management” is the main piece of Doyle’ exhibition, depicting the destruction, evolution, and rebirth of a city caught in the endless and cyclic tension between nature and industrialization. Although it was inspired by the aftermath of 9/11, the film doesn’t deal so much with terrorism as it does with the threat of technology as we continue to push our limits; as he puts it, the “glorious…the essence of being human.”
Abelardo Morell, “The Universe Next Door”
Morrell uses the technique of camera oscura, creating an aperture by using a small hole in an otherwise sealed window to turn the room itself into a camera. He combines this with digital photography, thus “overlaying” the outside world over it. His latest “obsession” and theme in his work is the idea of the passing of time in iconic and “timeless” locations.
Mary Temple, “Among Friends and Enemies”
Temple drew one world figure every day, and placed them on a sheet of paper, with its position conveying her opinion of whether that figure had a positive or negative impact. The fact that she is constantly adding to this exhibit mirrors the fact that the world and the flow of world events are also constantly changing. Also reflecting her interest in current events was her piece with uncut five-dollar bills, sewn together and screened with images of President Obama alongside President Lincoln. On several bills, the two Illinois presidents seem to be conversing, conveying Temple’s opinions on the similarities between the two.
Roxy Paine, “Distillation”
Running through the whole gallery, Roxy Paine’s installation really highlights the concept that art can “live” within a space – and as you walk through the gallery, experiencing the art, it seems to “grow.” This makes sense, as the sculpture itself is of veins, kidneys, arteries, and other vessels that seem to form one giant human circulatory system. It is notable that even though it is of something that should be human, Paine used hard, industrial materials to execute the installation, and not something natural; this conveys Paine’s idea of the clash between nature and artifice.
A running theme throughout all of these works we viewed at the various galleries seemed to be time, or timelessness, as well as the eternal and omnipresent tension between nature and “modernization.”
Sol LeWitt was an American artist who came to fame in the 1960′s as a part of the minimalist and conceptual art movements. His work was prolific – drawing, printmaking, etc – but he was best known for his wall paintings and sculptures (that he called “structures”), and range in size from gallery-sized pieces to ones nearly monumental in size. He was especially notable as an artist during his time because he did not believe a piece of art was about the “singular hand of the artist;” rather, it should be about the idea that inspired it, and transcends the work itself.
Daniel Canogar “Trace” at Bitforms Gallery
Canogar uses relics of the modern technological age found in dumpsters from his Spanish homeland to create reflective, large scale sculptural projections. Nouveau realists Jacques de la Villeglé and Arman, and their tribute to past art forms inspired him. I think it clever that he is using scavenged artwork to reflect the light, and by doing so keeps both DVD disk and light in use at least a little longer than would be their natural lifecycle.
Chris Doyle “Waste_Generation” at Andrew Edlin Gallery
The exhibit consisted of drawings and lightbox projections, however, its focal point is a projected piece of hand drawn animation titled “Apocalypse Management.” These projections are modeled off of the work of Hudson River School Painter Thomas Doyle’s The Course of Empire series. Doyle also claims that he was affected by the aftermath of 9/11 and the sense of rebirth that follows poor usages of technology that becomes obsolete over time.
Abelardo Morell “The Universe Next Door” at Bryce Wolkowitz Galler
In this exhibit, the room is transformed into a camera via a small hole in a sealed camera. The outside image is captured via digital camera. Inspired by a sense of photographic tradition, Morell borrows existing iconic images from mass media sources like the New York Times and warps them into something unique and different. He is toying with the concept of passage of time and change.
Mary Temple “Among Friends and Enemies” at Mixed Greens Gallery
This exhibit changes daily as each day Mary Temple draws a portrait of an important figure from each days news. She positions these likenesses on a different part of the page each day depending on the nature of the impact she believes the subject would have on the world. There is also a sculpture involving a beaver pelt and a crumpled signed paper. This is representative of a story involving the forging of Brooke Astor’s Signature. Both pieces utilize a concept of redrawing something from the mass media. Temple is trying to make sense of media, which has become more obtuse over time.
Roxy Paine “Distillation” at James Cohan Gallery
The long metallic wire “tree” in “Distillation” spans the entire gallery bridging the concepts of exterior and interior space. In this and the other work presented, which is a replication of toxic fungi, involves Paine is demonstrating collisions between the natural and industrial world. Paine was inspired by alchemy as demonstrated through the naming of “Distillation”
The pieces I saw during my Gallery trip all play with the concept of changing times. They pit industrialism and synthetics against the natural world in commentary regarding the resulting consumer culture, which often drives such changes.
Daniel Canogar is an artist that often creates “ready-mades” or pieces of art out of already existing objects. Canogar gets much of his inspiration and materials from discarded pieces of technology, such as thrown out DVDs, computer parts, telephone wires, etc, all of which can be seen at his show at the Bitforms Gallery. With his art, Canogar is responding to a world that has become so immersed with moving forward through the use of technology, and constantly being bombarded with new information. For him, such a fast pace can be overwhelming, and he often feels for the pieces of technology that are left in the dust, wanted to go up to them and tell them, “Thank you. You did a good job.” Both of his pieces in the gallery, Dial M for Murder, and Spin communicates his ideals as an artist, using thrown out film and DVDs to create something new and beautiful.
Chris Doyle’s show, Waste_Generation at the Andrew Edlin Gallery, dealt with similar ideas as Canogar, but presented them in a different way. For Doyle, there is a constant battle between both nature and technology; there is a cycle of “consumption and transformation” between the two juxtaposing forces in our every day world. The main piece at the exhibit is the video animation called “Apocalypse Management” that Doyle creates as almost a warning to the viewers to be weary of technology and how obsessed he have become. Being inspired after the events of September 11, Doyle depicts the creation, destruction and rebirth of an industrial civilization. The video loops, having no definite beginning or ending, leaving the viewer with a sense that this is an ongoing struggle that is never ending.
Abelardo Morell’s The Universe Next Door played with both photography and the concept of time to create a vision. Being a photographer, Morell took time lapsed photos of anywhere from Florence, Rome, Venice, and classic shots of New York City and, by projecting them though a small whole in a wall, turns what was a normal room into something spectacular. The most interesting part, to me, is the idea of bringing the outside world in. Morell’s ability to turn small, quaint rooms into beautiful pieces of art and time was captivating.
Although I’m not one who usually enjoys politically oriented art, I thought Mary Temple’s exhibit, “Among Friends and Enemies” was rather interesting. Being a collection of works that focuses on current events, and the people that make decisions that change our everyday lives, Temple is documenting events that most people look over. One of the most interesting parts about the exhibit is that it changes every day, something you rarely see in a collection of work. Her main piece, also playing with the concept of time, deals with one world leader and something they did that had an impact on the world. Everyday she picks a world leader to draw and orients them on the white rectangle either high or low, depending on whether she saw what they did as being positive or negative, respectively.
Roxy Paine’s exhibit, “Distillation” is a reflection of her principles as an artist. Like all of the other artists that we saw in the galleries that day, Paine focuses on the relationship between both natural and industrialized worlds. Her work at the James Cohan Gallery is an instillation that is one continuous piece, made up of recycled pieces from numerous places. The large piece that crawls and sneaks through the walls of the gallery, although being constructed of man made parts, represents organic shape often resembling parts of the human body.
Daniel Canogar Trace
I found Daniel Canogar’s work to be extremely insightful and interesting. His primary material is garbage that he finds in nearby dumps. For his Spin piece, he mounted 100 DVD disks on the wall and reflected a short part of the movie onto the opposite wall. The reflections were not in perfect lines, so some of the circles looked particularly distorted. In this piece Daniel was trying to show our culture’s fascination with flickering images while simultaneously expressing the alarmingly short life of pop culture. Each of the movies represented took an enormous amount of work to create and distribute, and they all end up forgotten and in the trash. The short sequence of each movie that is show also serves to show that most movies or other media are only remembered for one very small part of the whole. His other pieces in the gallery were made out of old telephone and computer wires. Daniel rigged up the wires so that there is light coursing in and out of them, simulating the sound energy that once flowed through them. Here we see the same themes of having a short lifespan and the utility of garbage.
Chris Doyle Waste_Generation
The main piece of this exhibit was the extensive hand-drawn animation, “Apocalypse Management”. The major themes of this piece were waste, the cyclical nature of things, rebirth and nature. Doyle was obviously influenced by September 11th, and the animation cycles between being bright and lively and dark and dystopic. The color green was used very heavily. This piece bore many similarities thematically to Daniel Canogar’s work, as it explored the themes of life, time, waste and a sense of being overwhelmed.
Abelardo Morell The Universe Next Door
This exhibit was very interesting in that it used a photography technique, camera obscura, that I was not very familiar with. All of the photographs in this gallery used this technique, which essentially allows you to project an image onto another image. There were many very intriguing examples of juxtaposition in this gallery, including an image of a bed projected onto an image of New York City, which plays around with the phrase “the city that never sleeps”. Another photo projects an image of a crowded bookshelf onto an image of some kind of rural countryside. Here you can also see themes of time, industrialism and cycles.
Mary Temple Among Friends and Enemies
One of the pieces at this exhibit was very similar to the Herald Tribune piece from the Guggenheim Museum Haunted exhibit. In fact, it was pretty much the same idea except the papers were from a recent time period. The same concept of taking out the words and letting the pictures and the position of the pictures tell the story was present, however. I find it very interesting that this is the way most people read newspapers now. The news companies are very careful about the facial expressions of the political figures in relation to where they are on the page. Another piece in the gallery was of a beaver stuffed with paper designed for learning how to write script, with the signature of the matriarch of the Astor family all over the papers that were in a haphazard, crumpled pile below the beaver. This piece was apparently referring to a scandal where her son forged her signature and tried to take her fortune when she died. The beaver was the family’s symbol.
Roxy Paine Distillation
This piece was essentially a huge metal structure that looped around and went through the walls, filling the entire space of the gallery. The construction takes up a large portion of the space, so even though there is a lot of empty space, you are forced to move within the space in a very specific fashion. In another room, there was a large metal board hanging on the wall that was covered in metal mushrooms, creating a kind of simulacrum with the way the industrial (the metal mushrooms) was attempting to impersonate nature. The mushrooms looked as though they could be real.