Žilvinas Kempinas' work feels like more of a physical experience than most work you'll see in art galleries. The kinetic works engage visitors in ways that, while feeling at times joyful, channeling a child-like fascination, also inspires one to consider movement, and time in relation to art, in new ways.
A circle of unwound videotape dances in the wind from the fan above. In the background, there are works that translates movement into a permanent state.
Throughout the exhibit, visitor's are encouraged to try seeing the work from different viewpoints. Kempinas' Bearings (2015) (seen below), for example, appears to be static from a far, but is actually moving. My first impression was that the circular shape resembled a globe, and then, upon closer inspection, the micro-movements of each bead, began to transform the image and my impressions. The above work also challenged ideas of the lines between art and those who view it, as it moved towards the visitors waking through.
Small steel bearings move through the oil, changing the piece endlessly.
The first room one walks into is an installation made specifically for the Ikon venue, making it an incentive to catch it while you can in Birmingham. You walk through white metal rods as a projection of a forest is cast on the walls around you, a wonderful first glimpse of the work to come.
However, the final room is perhaps the strongest, as his work White Noise intrigued me on multiple levels. I spent a lot of time studying the moving videotape strips, as from afar it resembled an un-tuned TV, but this illusion is shattered as one inspects it closer. This room in general overwhelms in the most positive way.
A close inspection of White Noise; a kinetic piece done injustice by a still image.