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Norwich Gallery

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This comprehensive retrospective of the productions by Fernsehgalerie (Television Gallery) Gerry Schum and Videogalerie Schum features important artistic projects from the late 1960s-early 1970s conceptualist art movement.

The notion of a TV gallery was an important development. It changed the parameters within which art might be presented, aspiring to reach the broadest possible audience.

Felt TV, a video by Joseph Beuys, features a domestic TV set, boxing gloves and a blood sausage as props to engage the viewer in the wider critical debate. It's very Freudian with moments of self-castigation and pseudo-emasculation.


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And Wolf Knoebel creates a disorientating visual record by filming the streetscape through an X-shaped filter whilst driving.

In a modern world that's visually bombarded with high quality, dynamic imagery, this exhibition may seem outmoded, the content communicating restricted concepts, replicating the visual planes of painting and photography or, as with Franz Erhard Walther's Demonstrating a use for Object 29, merely recording performance art rather than exploring the potential of video as a new medium.

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Yet it was once revolutionary, and both Klaus Rinke's wall clock quietly marking the passage of time and Jan Dibbets' TV as Fireplace are precursors to the ubiquitous virtual realm we now take for granted.

The examples of Land Art retain a fresh and uncomplicated contemporary validity.

Recording a pivotal moment in time when artists revaluated the surfaces available for them to explore their practice, Denis Oppenheim attempts to confine nature by crudely marking out frames on the cracked surface of Coyote Dry Lake.

Jan Dibbets uses the Dutch coast as a canvas, dredging the shoreline with a tractor, and Barry Flanagan creates a Hole In the Sea, temporarily interrupting the tidal flow in a grandiose gesture.

t Exhibition continues until February 26.

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