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{"id":170223,"date":"2013-09-14T19:15:00","date_gmt":"2013-09-15T00:15:00","guid":{"rendered":"https:\/\/esse.ca\/portfolio\/mike-nelson\/"},"modified":"2023-05-04T11:06:29","modified_gmt":"2023-05-04T16:06:29","slug":"mike-nelson","status":"publish","type":"portfolio","link":"https:\/\/staging.esse.ca\/en\/portfolios\/mike-nelson\/","title":{"rendered":"Mike Nelson"},"content":{"rendered":"\n
\n

\u2026 the deadening need to repeat, repeat\u2026<\/em><\/p>\nMike Nelson<\/cite><\/blockquote>\n\n\n\n

The title quotation is taken from Nelson\u2019s correspondence with Rachel Withers in which he discusses his work as an artist and builder engaged in the \u201cimpossible task of recollection and understanding.\u201d Nelson is known for his \u201cautophageous\u201d practice in which he cannibalizes materials from previous works in order to re-assemble and re-interpret component parts within subsequent projects. The shelving pictured here makes up one room within a labyrinth of others nestled inside Nelson\u2019s 2001 Turner Prize exhibition, appropriately named The Cosmic Legend of the Uroboros Serpent. This immersive installation both contained and was constructed entirely from materials scavenged from Nelson\u2019s previous monumental work titled The Coral Reef shown at Matt\u2019s Gallery in London the year before.<\/p>\n\n\n\n

\n

In the photograph\u2019s distance from what could be called syntax one finds the mute presence of an uncoded event.<\/em><\/p>\nRosalind E. Krauss<\/cite><\/blockquote>\n\n\n\n

\"\"<\/figure>\n\n\n\n

mike Nelson\u2019s books are best experienced as objects\u200a\u2014\u200ahence their (re)photographed treatment in the pages here. Like the shelves of his Turner Prize Uroboros installation, his publication Magazine (two pages of which you are immersed in as you read this text) acts as a \u201cstorage device\u201d to hold visual information and evidence from a series of projects the artist completed between 2000 and 2003. Filled with \u201cuncoded\u201d installation shots (none of the book\u2019s images are directly captioned or identified), the photographs, in a sense, re-enact the confusion of environments and the repetition of visual experiences encapsulated within his many installations.<\/p>\n\n\n\n

Nelson\u2019s publications often contain within their pages images that seem at once similar yet different. At times readers might think they are looking at the same installation in separate publications only to discover that they are, in fact, looking at different installations reconfigured using the same materials from previous projects.<\/p>\n\n\n\n

\"\"
Magazin: B\u00fcy\u00fck Valide Han, 8th<\/sup> International Istanbul Biennial, 2003.<\/figcaption><\/figure>\n\n\n\n

Beginning in the early 2000s, and appearing repeatedly, in ever more complex detail within his architectural installations are the red safe lights used by an unknown and absent photographer whose \u201cmute presence\u201d is discernible only through the traces of what remains. The full-blown construction of an elaborately hidden and fully outfitted darkroom, which is not simply a single room but constitutes the entire installation itself, occurs in Nelson\u2019s 2003 Istanbul Biennial project Magazin: B\u00fcy\u00fck Valide Han.<\/p>\n\n\n\n

\"\"
Spanning Fort Road and Mansion Street\u200a\u2014\u200abetween a formula and a code
Turner Contemporary off-site project, Margate, 2005.
<\/figcaption><\/figure>\n\n\n\n

Two years later, another darkroom-cum-camera obscura reappears in abbreviated form within the 2005 Margate installation, which reuses many of the same elements from previous works. Like a deep-hued d\u00e9j\u00e0 vu, Spanning Fort Road and Mansion Street is pictured in the same catalogue as its B\u00fcy\u00fck Valide Han predecessor, causing the reader to flip back and forth between the two interlinked projects.<\/p>\n\n\n\n

\"\"
I, Imposter<\/em>, 54th<\/sup> International Art Exhibition\u200a\u2014\u200aThe Venice Biennale, Venice, 2011.
<\/figcaption><\/figure>\n\n\n\n

Spectacularly, in 2011, the entire darkroom first emplaced deep in the rooms of the Valide Han in Istanbul is reconstructed piece by piece within the British Pavilion for the 54th Venice Biennale. In this work, mike Nelson moves beyond just an act of simple re-assemblage. He operates at a grand architectural scale, rebuilding the entire pavilion in Venice in order to re-enact not just the visitor\u2019s original experience of finding the darkroom in the Han, but the sensation of navigating the complex of alleyways, courtyards, corridors, storage rooms, and staircases which preceded the original entry into the deep red interior of the caravanserai.<\/p>\n

Mike Nelson, Rebecca Duclos<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1303,"featured_media":170067,"template":"","meta":{"_acf_changed":false},"categories":[281,885],"numeros":[3392],"disciplines":[],"statuts":[335],"checklist":[],"auteurs":[3423],"artistes":[3424],"thematiques":[],"type_portfolio":[],"class_list":["post-170223","portfolio","type-portfolio","status-publish","has-post-thumbnail","hentry","category-archive","category-portfolio","numeros-79-re-enactment","statuts-archive","auteurs-rebecca-duclos-en","artistes-mike-nelson-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/portfolio\/170223","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/portfolio"}],"about":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/types\/portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/users\/1303"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media\/170067"}],"wp:attachment":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media?parent=170223"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/categories?post=170223"},{"taxonomy":"numeros","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/numeros?post=170223"},{"taxonomy":"disciplines","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/disciplines?post=170223"},{"taxonomy":"statuts","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/statuts?post=170223"},{"taxonomy":"checklist","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/checklist?post=170223"},{"taxonomy":"auteurs","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/auteurs?post=170223"},{"taxonomy":"artistes","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/artistes?post=170223"},{"taxonomy":"thematiques","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/thematiques?post=170223"},{"taxonomy":"type_portfolio","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/type_portfolio?post=170223"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}