One of the most prominent artists of his generation, Ed Atkins works primarily with High Definition video and text, exploiting and subverting the conventions of moving image and literature. Centred around an augmented and appended version of the new multi-screen video work Ribbons, Atkinss exhibition transforms the Serpentine Sackler Gallery
into a submersive environment of syncopated sounds, bodies and spaces. This is his largest solo exhibition in a UK public institution to date.
Ribbons (2014) is having its UK premiere at the Serpentine Sackler Gallery in a site-specific adaptation. Presented alongside installations of text and images, accompanying videos and tourettic interjections, the exhibition underscores the ambivalent relationship that exists between real and virtual objects; between real and virtual conditions.
Ed Atkins, said: The Sackler exhibition will re-possess some sort of sub-horror genre; the old powder rooms, haunted by the phantom smell of gunpowder, paranoia and anticipation of violence, will emphasise a particularly phantasmatic aspect of Ribbons; the protagonists questionable corporeality, their presence, their performance of loss and monstrousness
Sounds from a suite of synchronised projections positioned throughout the Gallery will lead the visitor through the space, with glimpses of song, swells of orchestra, murmuring voices and waves of sub-bass. Ribbons is part musical, part horror, and part melodrama; Bachs Erbarme Dich and Randy Newmans I think its going to rain today are two of the songs featured. Naked, lonely and misanthropic, the palpable melancholy of Atkinss Computer Generated avatar hero is rendered as HD graphic, troll, voyeur and, perhaps, artist.
Julia Peyton-Jones, Director, and Hans Ulrich Obrist, Co-Director, Serpentine Galleries, said: In ghostly echoes of a world where the digital has crept under our skin and into our dreams, Atkinss seamless mix of video, audio and text coalesce into a deeply visceral examination of the contemporary experience of physical and digital corporeality. While flickering HD screens and lonely avatars dominate the Serpentine Sackler Gallery this summer, this exhibition by Ed Atkins promises to be anything but two dimensional.
Atkinss work draws attention to the way in which we perceive, communicate and filter information. His videos combine layered images with incomplete or interrupted excerpts of singing, speech, subtitles and handwriting. Working with a specialist in computer generated animation, Atkins exploits the hyperreal surfaces produced by new software systems to create complex, nightmarish environments populated by virtual characters, avatars of ambiguous provenance and desires. Atkins has described the male figure that appears in these works as a character that is literally a model, is demonstrably empty a surrogate and a vessel. Despite the emotive music and poetic syntax of the protagonists, their emptiness serves to remind the three-dimensional, warm-bodied viewer of their own physicality.
The experience of the physical body in Atkinss show is contrasted with and complemented by the durational performance being undertaken by Marina Abramović, whose exhibition runs concurrently at the Serpentine Gallery.