Exhibition: To Do performed as a musical score

Clarinetist Megan Clune ‘played’ Exhibition: To Do, 2014, on the last day of its exhibition at The Commercial gallery, Sydney. Exhibition: To Do can be played as a musical score given it is, ostensibly, a composition of spacial measures not unlike beats in a bar. The measured beats in Exhibition: To Do are punctuated by wooden uprights that separate… Continue reading Exhibition: To Do performed as a musical score

Image: Gail Hastings, Exhibition: To Do, 2014, acrylic on plywood, plywood, watercolour and lead pencil on paper, 185.4 x 225 x 225cm (photo: Sofia Freeman)

Exhibition: To Do

Closing Launch: Saturday 3 May, 4-6pm

with the work’s spatial score performed by clarinetist

Megan Clune

starting 4:45pm

open Wednesday-Saturday, 11am-6pm
148 Abercrombie Street, Redfern, NSW, Australia, +61 2 8096 3292


Gail Hastings’ Exhibition: To Do is a ‘to-do list’ for making art not yet done, a task-at-hand still at-hand, except for the construction of storage shelves that await the art, aligned in the gallery along the Earth’s cardinal axes.

The height, width and depth of each of the four storage shelves that comprise Exhibition: To Do have been determined by the thickness of the plywood used (18mm) and the repeatable pattern of spaces this thickness makes.  ‘The ubiquitous need to create space for a desired event through a ‘to-do’ list in which a disarray of tasks can be put into productive order’ forms, here, a composition of solid and non-solid intervals that implicate a spatial weft and warp of patience and breath.

Clarinetist Megan Clune will perform Exhibition: To Do‘s score of spatial intervals.

A review of Exhibition: To Do by Chloé Wolifson can be found on the Arts Hub, Saturday 19 April 2014.

Delicately rendered in watercolour with ruled pencil lines emerging from the edges of the translucent wash, these pieces depict the To Do list in question. One such reminder, the instruction: ‘Build racks in which to store the art after the exhibition’, speaks volumes about the established systems of the art world, and the particular approach artists must take when they create work which sits outside the conventionally commercial.

Cholé Wolifson, 19 April 2014.

Corner caretakers, 2014, one of the four sculptuations in the ebook Missing purchased through iBooks, is also mentioned.

Corner caretakers, 2014, and Space of a five page plot, 2014, are two of four sculptuations that comprise the ebook Missing: four sculptuations by Gail Hastings, 2014 available at iBooks. Both are now on view at The Commercial Gallery, Redfern, along with the sculptuation Exhibition: To Do, 2014.

The Commercial

Images 1-4 Gail Hastings, Exhibition: To Do, 2014, acrylic on plywood, plywood, watercolour and lead pencil on paper, 185.5 x 225 x 225cm; image 5 exhibition installation view; images 6-7 Gail Hastings,Corner caretakers, 2014, watercolour and lead pencil on paper in plywood frames, 12 components, each 55 x 46.5 x 1.8cm (Corner caretakers is a sculptuation from Gail Hastings’ eBook, Missing, 2014)

The four walls that make up Gail Hastings’ Exhibition: To Do are oriented within the gallery along the Earth’s axis — coordinates and a rudimentary geometry shared by all. Each wall bears geometric patterns of shelves — small units of space — made of intervals and intersections described and located along xy and z axes. The pattern of spatial intervals has been determined by the material thickness of the wood used — 18mm; wherein solidity and space play interchanging parts (e.g. solid, space, space, solid, space, space, solid, space, space, solid …) along the height and length of each object. In these ways, Hastings has eliminated extraneous moments of decision-making, lending a sense of givenness to the exhibition but also its need to be made. […]

Gail Hastings’ forthcoming exhibition is entitled Exhibition: To Do and will open at The Commercial on Friday, 11 April 2014, 6-8pm.

An excerpt from the exhibition record reads:

Space is generally thought of in its ideal form — as empty. Notions, such as needing space to breath, space to move, space to be free and outer space (uninhabited) point this way. In being empty, space is thought of as missing something, something that can fill it. It is why space is spoken of with such potential.

The conundrum, then, is how does one retain this potential when one makes art that creates space — an aesthetic space that is not missing something but is, instead, a something: a concrete thing?

Some time ago I was in a cafe in Melbourne, in St Kilda, enjoying a cup of coffee when I could not help but overhear two conversations on art taking place on either side of me. . .