Last weekend, I visited several commercial galleries in London, enjoying the opportunity to look at art works, which is possible once again after several months of enforced closures. However good the quality of online images and virtual tours of exhibitions, the intermediating presence of a digital screen changes the nature of the perceptual experience: there is no substitute for being in the physical presence of the art object. (Compare, watching a cookery programme online and eating a meal in a restaurant.)
One drawing in a room of recent work by Luc Tuymans attracted my attention. It showed a view across a square or courtyard towards the façade of a large three-story building opposite, with two other buildings, one to the side of the square and another slightly behind the first, also visible. All the buildings were shaded grey as was the paving of the courtyard and the road that led out of the square. The scene was drab: a deserted space on a cold, sunless day in winter, with no people, no colour, no objects of interest. In the centre of the drawing, as if superimposed on this dismal vista, was a white equilateral triangle, with one side rising vertically and the two other sides leading to a point to the right. It is a familiar sign in the contemporary world, visible on every phone, laptop screen or video monitor: it is the sign that means “click here to proceed” or “start”. It is the sign that means the opposite of two parallel white vertical lines, which means “click here to pause” or “stop”.
Continue reading “Pause”