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Off-Site Project - Cafe Gallery London Intelligent Muscle see also http://intelligent-muscle.blogspot.com/ Max Mason, Liz Murray, Tom Ellis, Daniel Robert Hunziker A project organised by K3 Project Space at the Cafe Gallery London Launch event Tuesday 15th May 2007 p/v Sunday 27th May 2007 at show continues until 17th June 2007 http://www.cafegalleryprojects.com/ What happens when four artists, with reputations as independent problem solvers and makers, are confined within a gallery space for 12 days and charged with the task of conceiving, creating and curating an exhibition? ‘Intelligent Muscle’ brings together four artists whose practices explore different sculptural concerns at the intersection of craft and concept: Tom Ellis, Max Mason and Liz Murray from the UK, and Swiss artist Daniel Robert Hunziker. Will complete artistic freedom seem like such a golden ticket as this foursome negotiate the three very different roles of artist, technician and curator without external assistance or the option of geographical distance. What will emerge from the collaborative toil: one piece that reflects their common artistic ground or several individual works that speak of the mental and physical boundaries required when four sets of ‘Intelligent Muscles’ flex at once? This project refuses to play ball with the contemporary phenomenon of ‘now’. In its present pre-event status it is possible to impose any number of art historical associations on to its skeletal form, based on the title, site and individuals involved. Purposely designed for analysis after the event, to situate it within any kind of theoretical framework would be to define limits or assign meanings that do not yet exist: like writing the word ‘risk’ on a piece of paper and corralling it with a biro circle. Let them smuggle in their own flipcharts if they wish but let’s not mentally pre-order personalised marker pens. There is of course some level of predefined bureaucracy to navigate: the gallery already exists in the public consciousness as a conceptual space and a very real bricks-and-mortar vessel – with its own purpose-built history –facilitated by funding, local council, health and safety and other socio-political bodies. But these are intended for pushing against. The only bureaucracy that will, or should, have any real bearing upon this project is the one about to be conceived and delivered into existence by the four members of a new, temporary, art ‘society’. Still, it’s fun to speculate. Will they order in a coyote and a roll of felt (see Joseph Beuys, 1974), or the ‘diary room’ technology required to mewl and puke to an uncaring world about the unfairness of it all? Perhaps they will draw up a manifesto and emerge as a new Situationist group, or define this project as their last ever sculpture (see Tracey Emin, 1996), and fight over who has installation rights for the ‘contents’ of the gallery? Having met one another and visited the space they may, as individuals, already have some idea of what they would like to create and whose practice they would align their own with. Will the group follow Ellis’s anarchic footfall between different rationales for defining ‘good’ and ‘bad’ art, or adopt Hunziker’s architectural approach to identifying and examining communication failures? Will they dance to the thumping tune of one of Mason’s site-specific disco interventions, or transform the everyday clutter they accrue, under Murray’s direction, into something that reflects the multi-tasking challenges they face? The books are open: anti-spectacle, psychogeography project or reality nightmare? You decide. Rebecca Geldard
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