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Re-curation of the Wundercamera exhibition
by Hayley Johnson and Natalie Meer (Part 1/6)

The re-curation of this wall made a large impact to the overall aesthetic of the room, creating a more balanced and symmetrical space.

The Fetherstonhaugh works enabled the viewer to observe both works simultaneously. This provided an alternative viewing experience from the previous hang on opposing walls. The scale and precision of the work is heightened when viewed as a pair. The position creates the effect of the work resting on the gallery sills, which responds to the imagery of inside a cabinet. Re-hung on the centre wall, the Sugimoto works were positioned much closer together than previously. The black and white images created an affective contrast positioned next to the Fetherstonhaugh pieces.

The television screen showing Jonathan Faiers film was rotated 180, facing the rear of the space. This decision allowed the viewer to experience the work and the room from an alternative perspective when sat on the accompanying benches.

Two Camera Obscured works were re-hung on the back of the television box. This allowed for further exaggeration of the symmetry. Another positive factor of this rotation was that the viewer could hear the audio, but not see where it was coming from, this inspired curiosity within the space.

Continued >

  1. Installation view after re-curation: Patrick and Tristram Fetherstonhaugh, Hiroshi Sugimoto and Camera Obscured
  2. Installation view before re-curation; Vid Ingelevics, Richard Ross, Jonathan Faiers and Karen Knorr
  3. Hiroshi Sugimoto before re-curation
  4. Patrick and Tristram Fetherstonhaugh before re-curation