Upon arrival, an essay by curator Lucas Soi, was left for the audience to read over before entering/while in the space.
Guest in front of Jeremy Jansen’s Handlebars, 2013
Installation view with Pipe and Nails, 2013
Soi sets the tone of the exhibit by narrating the main objective of the exhibition: the subjection of our bodies to the predetermined boundaries of space by linking Elias Canetti’s “fear of being touched”, Rodney King, and Agamben’s concept of ‘Aparatus’ with Jansen’s current body of work. When I entered the thoughtfully curated exhibition space it became clear that, like Niall Mcclelland and Jansen’s Barricades (2011), the works challenge the audience to rethink how their bodies are required to move/act in, as Soi puts it, “supposedly free and open environments.”
Artist Jeremy Jansen in front ofPortrait, 2013
Jansen takes ordinary objects that we find in public space and after a labour-intensive process of erasure through polishing; he places them in the context of a gallery in order to generate open, unrestricted, dialogue and reflection.
Installation view with Gate, 2013
Although we are given the context to understand the straight-forward dialogue regarding constrained conduct in open environments, Jansen also leaves room for the audience to consider a few other themes, including: the everyday/mundane, form, minimalism, pretension with a purpose of critique (and, potentially, Socratic irony), as well as whimsy (Jansen’s bird was nibbling on grains along the ceiling banister).
Jeremy Jansen’s bird enjoying the opening reception, Bird, 2013
While chatting with Jansen, he stated that he is “calling out” a few Torontonian artists with his new body of sculptural works. Consequently, I will, eagerly, be keeping my eyes peeled for any possible targets of Jansen’s critique.
Text and photo: Leanne Simaan
*Note: The show is open until June 24, 2013. COOPER COLE Gallery is located at 777 Richmond Street West—2nd Floor. Gallery hours: Monday, Friday, and Saturday: 12 – 4 p.m., and by appointment.