On The Line

Curated by Pascaline Monier


Shane Bradford
Oliver Clegg
Cédric Lefebvre
Ian Monroe
Ben Newton
Ayman Ramadan
Gavin Turk

May 29 - June 28 2009

The exhibition aims to discuss and open the debate on the possible effects of the current economical downturn on the art world, and whether we have witnessed the demise of a hyper-expansive cultural epoch or, are about to experience a period of renewed creative transformation.

The title of the exhibition draws a veiled reference to a past exhibition held at the Courtauld Gallery in 2002, curated by David H. Solkin, which presented to the contemporary public a re-creation of the 19th century Royal Academy exhibition space. The ‘line’ was understood and perceived as the most prestigious level where a work could be displayed – i.e. about 8 feet high. This space was favoured for large oil paintings depicting historical or mythological events or portraits according to the hierarchy of genre of the period.

In total contrast to the majestic setting of the public gallery arena ‘On the Line’ takes place in an artists run space where the physical height is ironically 8 feet, thus turning the display into a sub-Salon exhibition where no preconceptions of historical hierarchical display can be assumed.

Presenting six artists (working in various media), the show focuses on the various meanings of its title in relation to our contemporary environment and how these can be interpreted through artistic endeavour. On the one hand the ‘line’ can be seen as a demarcation between separate entities, a division between one and the other, between a starting point and an ending. On the other the ‘line’ could be construed as the line of production (the ceaseless mechanical cogs that drive our hyper-capitalist consumption) or the artists line of enquiry – the conceptual flesh and bones with which the artist as cipher conveys his/her contemporary viewpoint of the world, drawing on the knowledge and gains of his/her historical forbears to position oneself within the grand narrative of art historical lineage.

The multiple art historical references in the selected artist’s works transcribe the curator’s view as an optimistic outtake on the present situation “the history of art has been punctuated by rebirths and revivals and today’s end can only symbolise a new chapter about to be written”.