Curated by Elene Abashidze, the installation was a series of light-footed interventions in the space using delicate material, a screen recording, instructions and conversational fragments.
A piece of paper on a shelf shows an email from the artist to the curator in Sarah Boulton’s ‘An Echo Looped’ that reads, “I had wanted to keep an echo. So I found one that lasted for eighteen seconds, Recorded it and set it to always play on loop.” The work also existed on the opening night as a sound piece that played on loop in someone’s pocket on their phone. Just above the shelf an iPhone rests on the wall where ‘Emails’ details “hopeful plans for small artworks, received in the dark on an iPhone” to various people.
Ulijona Odišarija’s ‘Honesty Chains’ is a delicate arrangement using the plant ‘honesty’, silver chains, suction cups and paperclips. ‘The Dying Swan’ plays on a loop in the corner of the gallery, showing a screen capture of the artist’s “mother remembering choreography from “The Swan Lake” on Skype.”
‘Light Strategy (wave)’ outlined which times the gallery would have an hour of darkness each day. Alongside the show was a temporary webpage titled ‘Waving In the Underpass’ which opened with ‘The Dying Swan’ on the front page, and the sound of ‘Echo’ on the other where you could move between the two by clicking on a simple white button.**