Serpentine Galleries, in London...

8:06 a.m.

Two galleries rise in the middle of Kensington's gardens, in London: the Serpentine Gallery and the Serpentine Sackler Gallery, which are co-directed by, maybe, the most renowned curator in the world, Hans Ulrich Obrist. They are an attraction in themselves, considering that the artists on display must meet the standards of the director of those art spaces. The truth is that their exhibitions are museum-worthy.

Till mid-November, American artist Trisha Donnelly (1974) will show her work at the Serpentine Gallery. Her artworks are quite particular since Donnelly does not allow any references (no explanatory labels or signs) that can provide the visitors with information regarding her work. But she is interested in the spaces where she exhibits and usually adapts her works to them. In this case, among other pieces, she presents two videos with sculptures, drawings or 3D shapes in movements, combined with sounds.

Trisha Donnelly, Sepentine Gallery, 2014

At the Serpentine Sackler Gallery, Cerith Wyn Evans (UK, 1958) displays a series of works in different media, gathered "in concert", because the artist adapted them to relate to the space, transforming them in pieces of a site-specific of light and sound.

Since 1990, Wyn Evans' work is focused in language and its articulation to a certain space. In his own words, this installations should act as catalysts of different meanings apart of their aesthetic impact.

View of the installation, by Cerith Wyn Evans - Detail

Several materials

Serpentine Sackler Gallery, 2014

Among other works, he presents a series of decorated chandeliers that have been adapted to become communication devices which broadcast messages in Morse code. Those messages are deciphered and shown on a computer screen, as if they were sent from other worlds...

H=O=S=T, “Backstage at Bunkaru”, by Babara C. Adachi (1985) - 2014

Artefacto eléctrico (Grand Light), by Cerith Wyn Evans

Morse code programm and computer screen

Private collection, courtesy of White Cube, London

Serpentine Sackler Gallery, 2014.

Wyn Evans uses sounds and light as intangible mediums to transform. Sounds become from the artworks themselves and lights seem to inhale and exhale according to the rhythms that circulate through the architecture of the room.