Descriptions True and Perfect
- Submitting institution
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Arts University Bournemouth, the
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- Bowen_32065 Descriptions
- Type
- M - Exhibition
- Venue(s)
- Main Gallery, Jilin University of Arts (JUA), Changchun, China
- Open access status
- -
- Month of first exhibition
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- Year of first exhibition
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Descriptions True and Perfect was a one-person exhibition of twenty back-lit drawings, ten artists books and eight video projections, selected and curated for a large-scale immersive installation at the Main Gallery, Jilin University of Arts (JUA), 2016.
Bowen’s research aimed to investigate how the preservation, collection and transportation of ephemeral museum objects might stimulate innovative modes of drawing and video installation. This was achieved by interrogating ways in which to transfer and recontextualise knowledge that had been generated by her earlier AHRC-funded research project Capturing the Ephemeral (2010-12). A further research aim sought to establish a distinctive discourse which might bridge debates on contemporary drawing, materiality, video and the museum context.
The project was framed by Willem Barents’ 1596 expedition which left Amsterdam for China carrying Renaissance prints but only reached the Russian Arctic. The prints, now in the Rijksmuseum, Amsterdam remained frozen for three centuries. As a previous Artist-in-Residence at the Rijksmuseum, this exhibition extended Bowen’s interest in devising new ways of creating and exhibiting drawings to interrogate the museological dimensions of flux, while exploring themes of ephemerality through different means.
In 2015 Bowen had continued to the cartographers’ failed destination - the bamboo groves of East Asia. Filmed solely through a mirror, the resulting video works fragmented Bowen’s passage through sub-tropical landscapes and sought to challenge experiential understanding of time and space. Bowen’s drawings which had previously been frozen in the Arctic, were reconfigured. Through multiple folds, the drawings explored ideas connected to the transportation and storage of ephemeral objects.
In addition to the funded installation the outcomes of this research project were further disseminated through lectures at JUA (2016), Jerwood Drawing Prize (2017), Drawing Boundaries, Folding Islands, The British Pavilion, Venice Biennale for Architecture (2018).
- Author contribution statement
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- Non-English
- No
- English abstract
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