Entering a Roundabout
galvanised iron, paper- collage on repurposed polystyrene, mirrors, paper lines, space, 180cm x 180 cm x 40cm. 2018
Entering a Roundabout is the first project in Glassroom Projects. See more of Charles Cooper’s work here.
The Glassroom is the glassed-in space on the ground floor of Building 28 on the National Art School campus. It has been used to show student and staff works since it was constructed as part of the renovation of the building a few years ago. Glassroom Projects aims to formalise this use into a more focused program with different projects over the year, organised by Margaret Roberts.
Because the Glassroom is not a standard exhibition space, artists are encouraged to work site-specifically. Thus projects might engage with the Glassroom site via its physical space, its other formal qualities, its resemblance to a vitrine, its location under the chapel or at the centre of the campus, and so on. Site-specificity can be understood broadly – to include any of the later terms such as site-responsiveness and so on, and to accommodate arguments over the term since it began to be used in the 1970s. For example while some artists insist that the term be limited to artwork that cannot be moved (reflecting Richard Serra’s claim over Tilted Arc), this program proposes that movability of a site-specific work should depend on how it is engaging with the site, or what the site actually is. If it is the unique history, use or shape of the Glassroom itself, for example, then movability may make an artwork seem less site-specific. However if the site is the actual space we bodily occupy or the formal qualities found in many built places, or the whole planet even, then parts of that site may be found in many places, making movability more reasonable because the site is so big.