on site art projects

Approaching The Royal Academy of Arts Summer Exhibition is usually filled with high expectations.

The vast number of people leaving the holy halls gives you an idea how important this show is for the urge of detecting the ‚Zeitgeist‘.

I spent my time queuing for the next slot as a voyeur trying to grasp the essence of this year’s works: looking in the faces of leaving visitors that were equally concerned and amused. Probably because all works are on sale.

 Cornelia Piper curated the first room with a selection of works from recently graduated students to very established like Tracey Emin. Piper has chosen all medias from video installation to pencil drawing. The beauty of this only curated room is that your attention unwinds very slowly due to the monochrome works only in whites and blacks. Photographs disperse the turbulence of our times and writings in neon lights bear a witty comment on today’s paradox.

 Going in snail circles into the following room - the colourful works all in three dimensions - allow you only to capture them rhythmical. Referring to ecological and political themes you wonder what comes next. Stepping into the first room of the enfilade you glimpse that this year’s students’ works are particularly representational mainly executed in oil - looking at society in distorted sometimes fierce manner.

 The enfilade contains four big rooms leading to an apsis - that glorifies the containing works - and seeing so many red dots on them they mirror the success of this year’s show. One work placed in a ninety five angle to the apsis wittily recurs to the question: what’s the value of art?  This work displays red dots everywhere: on the painting, underneath the painting, on the frame and flying out on the wall.

 Because of the steady accumulation of works represented as a St. Peters burg-ian hanging one’s eyes flutter through the works trying to get hold of a system of observance. The 3 entrée hall - the heart of the exhibition has been attributed to architectural works. Scientific research on our satellites and the question of balancing earth’s resources and energies is shown in a multitude of videos aligned with theoretical thoughts. The both amphibian and very clean and sober architectural models provides you with the outlook of a mobile, non-romantic future focussing on the use of material such as copper, wood and other biological degradable compounds.

Heading to the exit I observe a Yinka Shonibare peace capturing a witty sight on colonialism - still romanticism is in due course: one visitor tells me that he approved my glimpses as very intense.