WHAT'S THE MEANING OF ALL THIS? Locked Room Scenario Is Ryan Gander's New Hoxton Warehouse Installation, an Exhibition with Actors That Is Set to Become One of Those Hip London Happenings. but It's Not Going to Make Immediate Sense, He Warns Ben Luke

The Evening Standard (London, England), August 18, 2011 | Go to article overview

WHAT'S THE MEANING OF ALL THIS? Locked Room Scenario Is Ryan Gander's New Hoxton Warehouse Installation, an Exhibition with Actors That Is Set to Become One of Those Hip London Happenings. but It's Not Going to Make Immediate Sense, He Warns Ben Luke


Byline: Ben Luke

[bar] MAGINE a by-appointment-only exhibition for which, once you've booked your ticket, you might be one of the visitors to receive a text requesting that you meet a stranger who will escort you to the venue. Then, when you arrive at the exhibition, the building is open but the show appears to be closed. As you walk around the edges of the inaccessible room, hints of video projections and sculptures can be glimpsed through frosted and wiremeshed windows, and gaps between blinds, and overheard through the walls. Then, when you leave the exhibition and make your way through the surrounding streets, it appears that you are being followed. What's going on? What does it all mean? Locked Room Scenario, an installation by British artist Ryan Gander, opens at the end of the month and is set to be one of most talkedabout events of the year. It is being created in collaboration with Artangel, the visionary commissioning body that brought us Rachel Whiteread's concrete cast of a house, Roger Hiorns's shimmering blue-crystal cave in an Elephant and Castle flat and, last year, the ghostly songs of Turner Prize-winner Susan Philipsz in the City of London.

For now, Gander is overseeing the construction of his show. When I arrive at a humdrum looking warehouse in a quiet street between Hoxton and Islington, I am greeted by a forest of wooden planks and joists being assembled by a team of builders. Gander soon joins us, entering the space in his wheelchair -- he has a longterm physical disability, the details of which he prefers not to reveal -- and is delighted by the speed at which the bare bones of his vision are taking shape. "It's looking great," agrees Michael Morris, co-director with James Lingwood of Artangel. These men know what's coming, and they are palpably excited.

Gander has been due a big public platform in the UK after several years of art-world buzz. He had a near miss in 2005 when he was shortlisted for the now defunct Beck's Futures prize but his work's subtleties can get lost when surrounded by more bombastic offerings. Last year he created a collapsed classical column inspired by Oscar Wilde's story The Happy Prince in New York's Central Park, and he is represented in many museum collections, from the Tate to the Museum of Contemporary Art, Chicago. He has long been tipped for the Turner Prize, without ever making the shortlist. With the Artangel project, 2012 might finally be his year.

Now 35, Gander was born in Chester. He studied interactive art at Manchester Metropolitan University and furthered his studies in Amsterdam. A conceptual artist, his works take infinitely various forms -- sculpture, film, installation, found objects, photography and more recently painting -- but what they have in common is that they are mostly spare and enigmatic, minimal conundrums and art historical riddles.

At the Lisson Gallery last year, for example, his broken neon sign in the window which read "M SSAGE" was displayed. The missing vowel is all important -- it looked like the sign for a massage parlour but in a gallery context it refers to our need for meaning and messages in art. He titled it The Medium, a reference to theories of media analyst Marshall McLuhan (who coined the phrase "the medium is the message").

We find a place on a ramp in the warehouse's courtyard, to settle down and talk about Locked Room Scenario. The title, Gander says, is intended to evoke the written or verbal puzzles used by psychologists when studying lateral thinking and the use of the imagination. He hopes visitors will be inspired to become art detectives.

"You see fragments of 30 works but never an artwork in its entirety, so you are forced to use your imagination and complete the artwork yourself," he explains. His seven invented artists, who are supposed to have made these works, have "complete characters, histories, aesthetics, motivations and goals", he says, about which visitors will discover more if they find certain clues, such as two pages of a novel written by Gander. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • A full archive of books and articles related to this one
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

WHAT'S THE MEANING OF ALL THIS? Locked Room Scenario Is Ryan Gander's New Hoxton Warehouse Installation, an Exhibition with Actors That Is Set to Become One of Those Hip London Happenings. but It's Not Going to Make Immediate Sense, He Warns Ben Luke
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

    Already a member? Log in now.