Setting up the exhibition was a long process of which took a lot of organization and last minute decisions. We had a plan of what would go up first and what would be left until last. For example the painting by Sam Percival would go up first as it only needed to be measured on straightly on the all. We decided it would go in the center of the back wall as it would not need much space, so other pieces could go beside it. Holly and Russel put the painting up, whilst i stood behind them to see if it was in the right position. personally i thought that hanging a painting was harder then it looked as it was very easy to tell if the painting wasn't straight or high enough. We hung the painting, like they are hung in galleries, at average eye level which is about 58 inches.
The other piece of artwork we decided to put up first was Jasmin khatuns, as the picture frames only had to be hung and we decided her sound piece would simply be displayed on a plinth by electrical sockets. Therefore, Rhian, Brogan and Suzie had to measure and hang the picture frames, of which covered plug socket holes in wall, so that the hole was not a distraction to the audience. We was going to have headphones next to the sound piece, however we decided that it would be more effective having the sound piece play out loud, as there wasn't any other sound to distract from it in the exhibition.
Originally we was going to display the projector on a plinth so that Shelley Hughes's projection clips were at eye height and straight on the wall. Setting up the projector was quite difficult, however Sarah was familiar with the technology after producing a video before. Once the projector had been sorted out and we understood how to use it, we developed the idea of having a more creative approach to using the projector in the exhibition. After speaking the Fran, we decided to use more of Shelley's work to do this. Shelley was kind enough to let us use work which we had not originally arranged with her and draws that she uses for her work in order to make a secure stand for the projector. After making the stand we then arranged for different works to surround the projector to disguise it as much as we can, whilst supporting the idea of what Shelley's work is about. After we had arranged this, we then decided that the piece which Shelley uses to project her clips onto, was not working in our exhibition. We decided to put the pieces piles up on the floor next to her projections as a supporting piece to the video. We then played around with the angle of the projection and decided we like the projection on an angle. As this was more interesting to view then a having a simple straight projection. After feeling inspired for curating Shelley's work with our own twist we decided to install and create our own piece using parts of work in the middle of the floor space, of which displayed an interesting light piece to match all the different lighting from the other pieces in the exhibition. We felt as though Shelley's work was the most disturbing to look at, representing our uncomfortable approach to viewers.
After Curating Shelley's piece we decided to get creative with presenting Anna Phillips photography piece by arranging in a way which reflects Shelley's on the opposite wall. This is because we felt that our exhibitions does not suit boring straight artworks and therefore we arranged the piece with a twist, again. As Hollie was sticking the photos to the wall we decided that we shouldn't stick all the photo's on as we like the unfinished look. It added a sense of curiosity, what pictures are missing? What does the artist not want the viewer to see, etc. The piece took up a lot of room on the wall, however due to use not having many wall pieces, we felt as if it used the space effectively.
Putting Bianca Marsland's hair pieces up was one of the most enjoyable pieces to put up, as the artist left it completely up to us of how we wanted to display it. Hollie and myself explored different ways of how to present it. However it was Hollie who come up with a floating idea, using fishing wire. We used the whole in the wall to hold the top of the hair and then decided we wanted to hair to coming into the center floor space. We believed this created a connection between the floors and the walls. Bianca's other hair piece was very easy to put up, as we always that we wanted the hanging hair in the entrance of the room to create that uncomfortable feel from the audience. Although we did have to add extra hair to the piece. We wanted the hair hanging down on an angel so that the viewer entered in a certain way, in order for them to avoid the hair. This enforced the idea that people naturally would not like to touch the hair.
Ilona Sikita's work was one of the most difficult pieces to install, as although is a small wall piece, the artist has to spend half and our re-drawing the piece in the wire herself. This is why we could not try out different positions for the piece. The artists did not want the piece high or low as she was very sure about having it at high level. However due to the Ilona's lamp piece being at eye level we did not believe they would both work together at high level height. Therefore the artists agreed with having the piece high up on the wall. After this problem was solved the vaginal lamp piece was very easy to set up as it just needed to be plugged in on top of a plinth.
Refreshments were not put in the exhibition space, as we feel it de-values the event, so we put it in the entrance, out of the way.
The lighting in the room, was quite dark, as we chose not to have the lights on and the blinds were shut. However we could afford to this as 4 pieces in the room involved lighting and therefore it was more effective not having lights on in the exhibition.
The exhibition required a member of the group to turn on the electrical piece, such as the sound piece and projection in the morning of the exhibition days. As i was the only member of the group who was willing to do this, i went in early both mornings to do this.
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