Breach, which begins its month long residency at the Rod Barton gallery in London tonight, brings together the work of five visionary photographers – Aurelien Arbet, Jeremie Egry, Bianca Brunner, Jean Charles de Quillaicq and Brian Dooley – and aims to showcase the art form’s wondrous breadth of possibility. Wonderland sat down with its curator, Tobias Czudej, to discuss the provocative collection.
What can we expect from Breach – what will be showcased?
Breach is a group exhibition focusing on four young artists who embrace photography’s plasticity and its ability to exist in multiple contexts. Taking advantage of the medium’s inherent instability, they further explore and challenge our understanding.
What were you initially looking for from prospective exhibitors and how did the show’s feel evolve from there?
I was very inspired by a show at the Aspen Art Museum titled The Anxiety of Photography. I spent three to four months researching online and carrying out studio visits. I was looking to show the diversity of work photographic artists are producing in the UK and Europe. The works in Breach range from still life photography to sculpture.
Why is it called Breach?
Breach refers to both a breach of traditional photographic conventions and a rupture between real space and virtual space. A photograph is paradoxical by nature – there is always a confliction between what it depicts and what it is as an object. These artists play on this paradox. Breach can also mean a whale’s leap from the water. I thought this was very fitting.
How are the pieces blended, in terms of the mediums thar are used?
Although very diverse, they all take their starting point from photography. Each work is distinct in its movement away from the idea of a traditional photograph framed and hung on the wall. I wanted there to be a certain freedom of form in the installation and to emphasise the works sculptural potential. Not a typical photography exhibition where everything is magnetized to the walls.
How will the space be utilised for it, in terms of lighting, size and so on?
The gallery is very unique, situated in a converted victorian garage on a side-street near angel station. It is interesting in itself – there is not much that you could do to change it so we tend to keep it the same for each exhibition. This means the artists often have to bring the space into consideration. Bryan Dooley’s acetate c-print works fold around the corners and slip onto the floor.
I anything planned for the gallery later this year?
We have a very busy and exciting year ahead of us. On the 25th January, we have a big painting show opening at the Cul De Sac space in south London, titled Painting, is a Painting, is a Painting, showing work by Dan Rees, Nic Deshayes, Oliver Perkins, Oliver Perkins, Roman Liska and Hugh Scott-Douglas. Then we are off to Art Rotterdam where we will be showing the work of Gabriele Beveridge and then to Nada art fair in Cologne. In April, we have an exhibition under the Blackfriars Bridge, entitled ON
Breach runs from 19th January to 18th February at the Rod Barton Gallery, London EC1V 7PA
Words: Jack Mills