Toby Ziegler The Alienation of Objects
7th October 2010 – 12th December
Zabludowicz Collection: 176 Prince of Wales Road, London, NW5 3PT
Opening Hours: Thursday-Sunday, 12-6pm
The Zabludowicz Collection is like no other gallery I know. Housed inside a former Methodist church, it is a fascinating experience in itself, a warren of corridors and rooms in which are installed the most unusual and out of place fixtures and fittings. Also installed in the rather apt context of this re-appropriated space, for a limited period only, is a series of sculptures by Toby Ziegler , which explore the notions of function and identity.
According to Ziegler it is impossible to fully convey the characterizations of a particular object. Therefore, rather than try to depict its every aspect, the artist considers an object only in terms of its geometric shape and volume. What results are large-scale three-dimensional structures, made entirely from inter-connecting polygons, and which are purposefully reminiscent of three-dimensional CGI models. They look like extraordinarily large pieces of origami, and one might suppose from looking at them that they can be unpinned and unfolded into a singular two-dimensional sheet.
This is not the case, however. Ziegler’s models are carefully calculated and highly complex, with each one beginning its life as computer constructed image. But in contrast to this ultra-modern process of conception the form of the sculptures are influenced by classical motifs, such as Iberian busts and neo-classical figures.
Within the context of the 19th Century former chapel that is the Zabludowicz Collection, these pieces are, as I believe was the point from the title of the show, entirely alienating. They are at once both modern and ancient, leaving the viewer quite bemused as to how to interpret them. Further adding to the confusion is the fact that many of the sculptures have lost their recognisable identity, making it unclear what they were originally based on, and what they are intended to be. This we assured, however, is a purposeful misrepresentation, as the theory that underpins much of Ziegler’s work is based upon a realization of the limitations of sculpture as a form of representation.
Similarly, by the artists admission, the physical nature of these pieces are highly unconventional. On first glance they appear very square and angular, and on further inspection can be seen to be made out of very basic, cheap materials such as cardboard, aluminium, gesso and pins. Even more unexpectedly they are hollow, a fact positively flaunted by the pieces, which invite you to look inside them through the eye of a bust or the leg of an outstretched figure.
Conversely, the series of more solid forms in the show, ready made found objects who in their number include a freight container, appear void of meaning and style. Unlike Ziegler’s other pieces these found objects contain no sense of character, and may not be instantly recognisable as a product of the same artits. For instance a weather balloon that floats idly in the corner of the room is at odds with the pieces around it because of its convex surface, and a mechanical bull, which rocks back and forth making a dull sort of humming sound, is unusual because it is covered by a blanket that hides its form from the viewer.
As well as these rather inconsequential and out of place ready mades, Ziegler has also employed the help of other artists, in order to fill the space at the Zabludowicz Collection. Taking pieces from the gallery’s archive, he has installed a number of moving image pieces, which explore similar themes to his own work.
Complimenting the high-tech influence of his practice are works that utilize advanced computer technologies, such as the two pieces by Oliver Michaels, in which classical sculptures are manipulated by three-dimension rendering tools, and made to look like they are talking. In a similar way to Ziegler, Michaels juxtaposes the modern with the classical, making a lion appear as if he is talking, and two monks seem as if they are ranting.
However closely pieces such as these are connected to the work of Ziegler though, one cannot help but think that they only serve to confuse the viewer in this supposed solo artist show. Has Ziegler made the terrible mistake of (excuse the pun) alienating himself in his own exhibition?
The layout of the gallery is such that the first and last items that you will see in the exhibition are Ziegler’s sculptures, which dominate the two storied atrium through which you enter and exit the gallery. But unfortunately the domineering presence of these pieces is not accompanied by any sort of overwhelming feeling for the artist’s practice. And even when constraining consideration to the rooms in which only Ziegler’s work resides, one cannot help thinking that the presence of found objects only serves to dilute the essence of the artist’s work.
