Lingering on the Threshold
Exhibition
MA Curating and Collections Degree Show, in collaboration with Artangel and OctoberSalon
University Arts London,
Chelsea College of Art
July 2024
Lingering on the Threshold brings together works from The Artangel Collection and The October Salon Collection. In these works, liminality functions as a way for artists to engage with cultural, economic, and environmental concerns by searching for new solutions outside of their current structures. In an increasingly saturated digital world, we find ourselves drawn to the realms of phantasmagoria and liminality as an escape from the noise and density of waking reality. The term "liminal" comes from the Latin word "limen", meaning threshold. Within the exhibition, these in-between spaces take the form of desolate nuclear bunkers, museum galleries after hours, and the backseat of a taxi. Through the sphere of liminality, we discover a terrain unbound by societal expectations and prescriptions. Liminality is characterised by transformation. It is here, in this ephemeral and often enigmatic state, that our minds are liberated, allowing us to explore the depths of our existence. Lingering on the Threshold functions as a labyrinth of stories in which we invite visitors to get lost and come in contact with a dreamscape of memory, suggestion, and wonder.
Artists:
List of artworks can be found below
Sanja Anđelković, Francis Alÿs, Igor Bošnjak, Rachel Pimm & Graham Cunnington, Ben Rivers, Gregor Schneider
Curated by:
Nis Azmee Murat, Yining Bai, Stephanie Colclough, Mengze Geng, Riccardo Greco, Maria Herrero Tejada, Yaqi Liang, Wanjing Lin, Heyue Lu, Wenyan Ma, Aayushi Rajput, Qinxue Shen, Mahalia Sobers, Charmaine Wah, Xingcheng Xu, Lilian Zancajo-Lugo
Images by:
Wanjing Lin and Charmaine Wah
Artists:
List of artworks can be found below
Sanja Anđelković, Francis Alÿs, Igor Bošnjak, Rachel Pimm & Graham Cunnington, Ben Rivers, Gregor Schneider
Curated by:
Nis Azmee Murat, Yining Bai, Stephanie Colclough, Mengze Geng, Riccardo Greco, Maria Herrero Tejada, Yaqi Liang, Wanjing Lin, Heyue Lu, Wenyan Ma, Aayushi Rajput, Qinxue Shen, Mahalia Sobers, Charmaine Wah, Xingcheng Xu, Lilian Zancajo-Lugo
Images by:
Wanjing Lin and Charmaine Wah
Sanja Anđelković, Look up! I am No Canopy- I am a Messenger, 2022
cli-fi speculative choral piece/performance/audio, 17 minutes(approx)
Commissioned by The 59th October Salon (Belgrade Biennial), production and organization by The 59th October Salon
Sanja Anđelković's Look up! I am No Canopy- I am a Messenger (2022) is a multidimensional audio/visual portal with psychological sentimentality. Guided through the animated dreamscape by an ethereal choir providing prophecies about our time, the orthodox songs lead to abstract thoughts on social issues like climate change and eco-feminism.
Francis Alÿs
Fitzroy Square (Railings), 2004
video, 9 minutes 15 seconds
The Artangel Collection
Memory and liminality extends to Francis Alÿs' Fitzroy Square (Railings) (2004), where architecture becomes a reverberating musical instrument, echoing a sensorial memory in the city's bones.
The Nightwatch, 2004
video, 17 minutes 21 seconds
The Artangel Collection
Francis Alÿs' The Nightwatch (2004) tracks a rogue fox navigating the maze of London's National Portrait Gallery at night, seen through their CCTV system. The fox re-examines many of the same rooms, searching for entrances and exits amid a whirlwind of London's historical ghosts.
Igor Bošnjak, Hotel Balkan, 2013
video, 10 minutes 27 seconds
The October Salon Collection
Igor Bošnjak's Hotel Balkan (2013) walks us through a desolate nuclear bunker in Bosnia, its architecture haunted by its mortal conception and the uncanny nature of human absence. Navigating through dark corridors and surrounded by textural audio reminiscent of a Geiger counter, Hotel Balkan is a liminal encounter with space and memories of the past.
Rachel Pimm and Graham Cunnington
an earshare / to cassay the earth crust part 1, 2021
digital media, 16 minutes 05 seconds, The Artangel Collection
an earshare / to cassay the earth crust part 2, 2021
digital media, 15 minutes 54 seconds, The Artangel Collection
Rachel Pimm
thunderclap
2021 digital media, The Artangel Collection
etym, 2021 digital media
The Artangel Collection
cyclotrimethylenetrinitramine
2021 digital media, The Artangel Collection
calthemite points the finger
2021 digital media, The Artangel Collection
hagstone
2021 digital media, The Artangel Collection
an earshare to cassay the earth crust
2021 rocks, calthemite, The Artangel Collection
THE THING IS
2021 text, paper, The Artangel Collection
Graham Cunnington
clast and blast /bone and stone
2001 text, paper, The Artangel Collection
a backscatter reverberation
2001 text, paper, The Artangel Collection
Rachel Pimm and Graham Cunnington's an earshare / to cassay the earthcrust (2021) is a site specific investigation of the violent historical traces found at Orford Ness. This exploration between conservation, geology, and quantum mechanics, is centred around the concept of "earsharing," the act of deeply listening to the Earth's natural qualities.
Ben Rivers
Mrabet (Two Eyes are not Brothers), 2015
film, digitised from 16mm, black and white, sound with subtitles
9 minutes (approx)
The Artangel Collection
Taxi (Two Eyes are not Brothers), 2015
film, digitised from 16mm, colour, sound, 3 minutes 14 seconds
The Artangel Collection
Ben Rivers' Mrabet and Taxi are selections from his suite of five films, The Two Eyes Are Not Brothers (2015), partially based on Paul Bowles' 1947 novel, A Distant Episode. In Mrabet, Rivers documents his encounter with Mohammed Mrabet, a storyteller and artist, now 88, who recounts myths and memories, blending documentary, fantasy, and fable.
In Taxi, the audience is met with the haunting gaze of a fellow passenger, with directions to and from remaining unsaid and unknown, focusing instead on the interpersonal interpersonal probing of sharing transitory space.
Gregor Schneider, Die Familie Schneider, 2004
2 channel video, 13 minutes 12 seconds
The Artangel Collection
Gregor Schenider’s Die Familie Schneider (2004) maps identical neighbouring houses, 14 and 16 Walden Street. Filmed from the perspective of the visitor and screened side-by-side, the films provide an experience of moving through the houses: faded yellow wallpaper, stained carpets, dark basements, and uncanny encounters with identical twins.
cli-fi speculative choral piece/performance/audio, 17 minutes(approx)
Commissioned by The 59th October Salon (Belgrade Biennial), production and organization by The 59th October Salon
Sanja Anđelković's Look up! I am No Canopy- I am a Messenger (2022) is a multidimensional audio/visual portal with psychological sentimentality. Guided through the animated dreamscape by an ethereal choir providing prophecies about our time, the orthodox songs lead to abstract thoughts on social issues like climate change and eco-feminism.
Francis Alÿs
Fitzroy Square (Railings), 2004
video, 9 minutes 15 seconds
The Artangel Collection
Memory and liminality extends to Francis Alÿs' Fitzroy Square (Railings) (2004), where architecture becomes a reverberating musical instrument, echoing a sensorial memory in the city's bones.
The Nightwatch, 2004
video, 17 minutes 21 seconds
The Artangel Collection
Francis Alÿs' The Nightwatch (2004) tracks a rogue fox navigating the maze of London's National Portrait Gallery at night, seen through their CCTV system. The fox re-examines many of the same rooms, searching for entrances and exits amid a whirlwind of London's historical ghosts.
Igor Bošnjak, Hotel Balkan, 2013
video, 10 minutes 27 seconds
The October Salon Collection
Igor Bošnjak's Hotel Balkan (2013) walks us through a desolate nuclear bunker in Bosnia, its architecture haunted by its mortal conception and the uncanny nature of human absence. Navigating through dark corridors and surrounded by textural audio reminiscent of a Geiger counter, Hotel Balkan is a liminal encounter with space and memories of the past.
Rachel Pimm and Graham Cunnington
an earshare / to cassay the earth crust part 1, 2021
digital media, 16 minutes 05 seconds, The Artangel Collection
an earshare / to cassay the earth crust part 2, 2021
digital media, 15 minutes 54 seconds, The Artangel Collection
Rachel Pimm
thunderclap
2021 digital media, The Artangel Collection
etym, 2021 digital media
The Artangel Collection
cyclotrimethylenetrinitramine
2021 digital media, The Artangel Collection
calthemite points the finger
2021 digital media, The Artangel Collection
hagstone
2021 digital media, The Artangel Collection
an earshare to cassay the earth crust
2021 rocks, calthemite, The Artangel Collection
THE THING IS
2021 text, paper, The Artangel Collection
Graham Cunnington
clast and blast /bone and stone
2001 text, paper, The Artangel Collection
a backscatter reverberation
2001 text, paper, The Artangel Collection
Rachel Pimm and Graham Cunnington's an earshare / to cassay the earthcrust (2021) is a site specific investigation of the violent historical traces found at Orford Ness. This exploration between conservation, geology, and quantum mechanics, is centred around the concept of "earsharing," the act of deeply listening to the Earth's natural qualities.
Ben Rivers
Mrabet (Two Eyes are not Brothers), 2015
film, digitised from 16mm, black and white, sound with subtitles
9 minutes (approx)
The Artangel Collection
Taxi (Two Eyes are not Brothers), 2015
film, digitised from 16mm, colour, sound, 3 minutes 14 seconds
The Artangel Collection
Ben Rivers' Mrabet and Taxi are selections from his suite of five films, The Two Eyes Are Not Brothers (2015), partially based on Paul Bowles' 1947 novel, A Distant Episode. In Mrabet, Rivers documents his encounter with Mohammed Mrabet, a storyteller and artist, now 88, who recounts myths and memories, blending documentary, fantasy, and fable.
In Taxi, the audience is met with the haunting gaze of a fellow passenger, with directions to and from remaining unsaid and unknown, focusing instead on the interpersonal interpersonal probing of sharing transitory space.
Gregor Schneider, Die Familie Schneider, 2004
2 channel video, 13 minutes 12 seconds
The Artangel Collection
Gregor Schenider’s Die Familie Schneider (2004) maps identical neighbouring houses, 14 and 16 Walden Street. Filmed from the perspective of the visitor and screened side-by-side, the films provide an experience of moving through the houses: faded yellow wallpaper, stained carpets, dark basements, and uncanny encounters with identical twins.