In contemporary life, actions are often fleeting and hurried. We are simultaneously consumed by balancing numerous responsibilities, yet we dive into the digital world, losing sight of what is real through constant visual information. White Cube Bermondsey showcases installations and sculptures from Cerith Wyn Evans (b. 1958), reflecting on language, transcendence and translation in the modern world. Titled No realm of thought… No field of vision, the exhibition questions whether initial perceptions can mask our understanding of the world.
Evans is highly influenced by mechanical forms and sculptures, using Marcel Duchamp’s (1887-1968) readymades as a reference. These recognisable structures, including Bicycle Wheel (1913), are transformed into knotty swirls of neon light, suspended from the ceiling. By inviting viewers to actively look, Evans not only commands a break from distractions, but also recalls a history of mechanical innovation.
Featured in the show, Fig (0) mimics the structural ingenuity of an early 20th century helicopter, designed by Paul Cornu (1881-1944). These references to transport evoke a sense of movement – amplified by the interaction between light and shadow. Fig (0) is just one example that invites views to pause and reconsider their environment. The show questions the place of truth in a world of miscommunication and fake news. How far do we need to be convinced of an object?
The exhibition opens 7 February. Find out more here.
Lead Image: Cerith Wyn Evans, …the Illuminating Gas, exhibition view at Pirelli HangerBicocca, Milan, 2019. Courtesy of the artist and Pirelli HangarBicocca, Milan. Photo: Agostine Osio.
1. Cerith Wyn Evans, The Illuminating Gas… (after Oculist witness). Courtesy of the artist and White Cube Bermondsey.
2. Cerith Wyn Evans, Neon Forms (After Noh II). Courtesy of the artist and White Cube Bermondsey.