Feeling in the Eyes at Tenderpixel, London

Feeling in the Eyes is named after the 2002 video that sits on the windowsill of Tenderpixel Gallery, Cecil Court, London. The gallery is in a magical street of independent shops selling books, prints, antiques, model cars and curiosities. If you don’t know it, it is walking distance from The National Gallery and The National Portrait Gallery.

Tenderpixel Gallery is part of, and next to, a book shop. It is more contemporary than the other establishments but not out of place. The gallery has an upper (street level) space and a lower space.

The exhibition consists of 9 works by five artists and lead curated by Stella Sideli: “Feeling in the Eyes explores the ever evolving notion of materiality in the context of our accelerated present, specifically through the post-internet condition” quote from the gallery information.”

The mediums are film, sound, ready made installations, print, digital and even a virtual work displayed on an iPad but also available online.

First impression is of an idea of past eras and iconic design for all. The second impression is of a future reality of virtual experiences, or the question of whether we are there yet. There is a lack of natural materials. The urban chic gallery space with its basic clean walls and calm, simple pallet allows the space for the works to sit and be considered.
 

At the street level, on the back wall hangs the virtual video “Fire Gazing” by Rustan Soderling. It is what it says, a piece of digital art. A camp fire and flame, which burst into different forms. Some forms you recognise, like a wheel and a watch, some you can’t make out. In the middle is “The Demonstrators” by Nina Beier; A sofa with a stock image poster of three phones. It faces the window empty, leaving me with the idea that the demonstrators have left, that there was a protest, or something of that kind, but that it is abandoned. On the window, facing in, is the video “Feelings in the Eyes”  and “Dispersion” both by Seth Price.

In the basement level there are five pieces in two spaces. The backspace houses two works by David Ferrando Giraut. One is a video and one a sound. There are elements of nature, and natural against, or in conversation with, manmade, synthetic. There is beauty of the interpretation of waves in the speakers. In the other spaces holds three pieces for Will Kendrick. These works seem much more focused on consumerism, branding, look, it feels like a club, or a designer shop. You understand, you know the branding, but not sure what you are buying into.

For me the exhibition is about questioning where we are within the world and media, and making choices rather than just following what is done. Is watching “Fire Gazing” or “Feeling in the Eyes” in your home the same as watching it in the gallery? Have a look at it on Tenderpixel’s website and at the gallery and tell us what you think.

I think both have a place. In the gallery you have to take the other works into consideration, the curation of the show, and the space puts you in a different head space than when you are sitting at home, or on a train, or in a cafe. That is one of the things I find fascinating with this genre of art. The lack of control of where the work is viewed is both liberating, and controlling in itself. When you paint a picture it goes on a wall, but a digital work could be viewed anywhere, you lose ownership with new media. I have linked the videos above, they are available via a basic google search, but, galleries like this, showcasing these works, are putting this style into a discussion on commercialism, consumerism, and the place of art today.

Feeling in the Eyes is at Tenderpixel, London until 19 March 2016