Before the Artie Vierkant show at Exile Galerie I could truthfully state that I had never seen a trailer for an art exhibition. My cherry has now been popped, and I will never speak those words again. I must say, I feel like whole new girl. Why has no one thought of this before?
The trailer is enticing—white light moves across a ribbed metal board and then a quick pop, the sound of a tennis ball coming off a taught racket, heralds the arrival of the first yellow metal tube shooting into place. More pops and more yellow missiles sliding into the grid, tetras-like and with a satisfying ssssthwippp.
This is the kind of video art I adore, visually captivating, elusive and then evolving, rife with calls to my second senses. This is the kind of trailer that makes me twitchy for the real thing; and so, I arrived at the Exile Galerie opening more than a little excited.
The Main Event
My first reaction was measured. I found myself surrounded by small wall-pieces hung museum middle around the perimeter of the square gallery. The work resembled squares on a board game, or rows of those paint cards with different shades you use to choose the color of your living room. Tactile squares of muted pigments lined up in rows and occasionally distorted, melting in the manner of Munch’s screamer, but cleanly, clearly photoshopped.