Art and Artists: Alan Smith Exhibition
L’Arena, 26 June 1977
Personal exhibition on two fronts (Studio La Citta’ and Galleria Ferrari) for Alan Smith, one of Britain’s most intelligent and striking artists: an exhibition of significant interest and heavily atmospheric, thanks to Smith’s ongoing investigation in the field of “visual forms”.
“I’m interested in mechanics and electronics – Smith comments ironically – though neither are my profession.” Still, it’s clear that the British artist makes full use of the means provided to him by modern technologies in order to develop a series of “ideas containers”. His very projects – subject to all the necessary adjustments of the case – could be mistaken at first for the studies of a Leonardo of the 20th century who was being inspired by photocells.
A few examples? “Return to the Source” is particularly significant: built within a museum glass case, and comprising an ensemble made up of two guillotines with a cone in their middle. The cone has the purpose of preventing the return of the guillotines to their original position, thus rendering the machine unusable in practice. What is, therefore, the remaining function of such a “pointless monster”? Clearly, that of presenting the viewer with a reason to invent another activity for the machine, whatever this might end up being. This is also a clear strategy for Smith to involve the viewer and make them an “integral part” of the artwork.
This could lead viewers to think of Smith’s work as a game, or a collection of refined “divertissements”, but this is not the case: Smith maintains a mathematical rigor and psycho-analytic vocation throughout every aspect of his creative activity.
Smith’s work also carries a very distinct ironic streak, which is particularly evident in “£1512”, the artwork that towers within the Studio La Citta’ exhibition. Michael Haggerty discusses this work in detail: “Until recently, Smith and his [then] wife were part of a group of artists working together in a financially self-sufficient workshop in Edinburgh. When the group dissolved, there was £1,512 left, and several ways in which this money could be used. In the end, the money was used in order to create a piece of art. Rather than through buying canvas and paint, however, the money itself was made to become a technique; in practice, the pounds were paid into a bank account so that every year interest would automatically accrue on the original amount and this would increase “its value”. All of those pounds can never be withdrawn.” The implications of this work are several, but it’s enough to note that it shocks several people. It is not an artwork in the same vein as “La Gioconda”, as that is a piece of art that many viewers watch while thinking of its financial value, rather than its artistic importance. Ultimately, it takes less effort to understand “£1,512”.
L'ARENA - June 1977 - Alan Smith Exhibition (La Mostra di Alan Smith) - Adalberto Scemma - translated by Carlo Dusi & Colin Taylor
Personal exhibition on two fronts (Studio La Citta’ and Galleria Ferrari) for Alan Smith, one of Britain’s most intelligent and striking artists: an exhibition of significant interest and heavily atmospheric, thanks to Smith’s ongoing investigation in the field of “visual forms”.
“I’m interested in mechanics and electronics – Smith comments ironically – though neither are my profession.” Still, it’s clear that the British artist makes full use of the means provided to him by modern technologies in order to develop a series of “ideas containers”. His very projects – subject to all the necessary adjustments of the case – could be mistaken at first for the studies of a Leonardo of the 20th century who was being inspired by photocells.
A few examples? “Return to the Source” is particularly significant: built within a museum glass case, and comprising an ensemble made up of two guillotines with a cone in their middle. The cone has the purpose of preventing the return of the guillotines to their original position, thus rendering the machine unusable in practice. What is, therefore, the remaining function of such a “pointless monster”? Clearly, that of presenting the viewer with a reason to invent another activity for the machine, whatever this might end up being. This is also a clear strategy for Smith to involve the viewer and make them an “integral part” of the artwork.
This could lead viewers to think of Smith’s work as a game, or a collection of refined “divertissements”, but this is not the case: Smith maintains a mathematical rigor and psycho-analytic vocation throughout every aspect of his creative activity.
Smith’s work also carries a very distinct ironic streak, which is particularly evident in “£1512”, the artwork that towers within the Studio La Citta’ exhibition. Michael Haggerty discusses this work in detail: “Until recently, Smith and his [then] wife were part of a group of artists working together in a financially self-sufficient workshop in Edinburgh. When the group dissolved, there was £1,512 left, and several ways in which this money could be used. In the end, the money was used in order to create a piece of art. Rather than through buying canvas and paint, however, the money itself was made to become a technique; in practice, the pounds were paid into a bank account so that every year interest would automatically accrue on the original amount and this would increase “its value”. All of those pounds can never be withdrawn.” The implications of this work are several, but it’s enough to note that it shocks several people. It is not an artwork in the same vein as “La Gioconda”, as that is a piece of art that many viewers watch while thinking of its financial value, rather than its artistic importance. Ultimately, it takes less effort to understand “£1,512”.
L'ARENA - June 1977 - Alan Smith Exhibition (La Mostra di Alan Smith) - Adalberto Scemma - translated by Carlo Dusi & Colin Taylor