Placed within a 90º angle, one can either face in or face out.
A corner can either cage or cradle. By bringing together ambitious installations, wall drawing and sculpture, Cornered Rooms examines whether this particular space of experience serves to reinforce our fears of entrapment, or whether it can create a positive space for reflection.
Post-9/11 architecture has highlighted the importance of exit strategies. Stephan Trüby discusses the advent of this new spatial orientation in Exit Architecture, Design Between War and Peace in a culture marked by risk-analysis and fear. Rather than welcoming ‘entry situations’, building codes show a desire for a way out.
The corner is responsible for the awkward feeling of walls caving in and the impossibility of escape. By placing this situation alongside contemporary architecture’s preoccupation with ‘exit situations’, the corner may serve as a metaphor for our social condition.
Angles of no escape can, paradoxically, offer the best view of all obstacles. Following the poet Noël Arnaud, in The Poetics of Space, Gaston Bachelard writes “I am the space where I am. [...] Nowhere can this be better appreciated than in a corner.” By creating an opportunity to situate within, the corner creates a moment of physical and psychological transformation.
The two-dimensional arrangement of lines is collapsed and expanded into the gallery. The corners of the exhibition space appropriate the structures employed by the artworks.
The exhibition will bring newly commissioned and previously unseen in the UK works by Hreinn Fridfinnsson (IS), Karim Noureldin (CH), Anna Ostoya (PL), Damien Roach (UK), Egill Sæbjörnsson (IS) and Patrick Tuttofuoco (IT).