展览介绍：
此次展览是“Chelsea Space”展区春季项目的第二个展览，William Allen与Chelsea Space策展团队共同策展。Ken Cox，一位英国“有形的诗歌”运动中很有影响力的雕塑家，他也是使用动力学原理制造出诗歌机器的发明者，这个机器可以让字母像实物一样在空间中移动。1968年，Cox 第一次在伦敦的Lisson画廊举办个展，但不幸的是，同年11月他遭遇了一场严重的车祸。时隔多年，他的作品再一次在伦敦展出，为的是让人们重新记起这位在“有形的诗歌”运动中的重要人物。
展览时间:
2015.4.29-2015.6.5
展览地点：
Chelsea Space
这里是切尔西艺术学院的公共展览空间，也是策展与收藏专业的学生可以亲自实践策展的场所，而能提供这种锻炼机会的大学在英国独此一家！
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CHELSEA space is pleased to announce Ken Cox: Poetry Machines as the second exhibition in our spring programme. A highly influential sculptor of the British concrete poetry movement, Ken Cox was a creator of kinetically powered poetry machines that made words move in space as material objects. Cox’s career was cut tragically short in November 1968 when he was fatally injured in a car accident, just months after his first solo show at the Lisson Gallery. This is the first time his works have been shown in London since then, re-asserting Cox as a significant figure in the concrete poetry movement.
The exhibition reactivates works such as Seasons Clock (1965), the hanging multiple, Suncycle (1968), The Three Graces (1966 -68) (Latin Version) and one of the five Elemental Balloon Poems (1967). These works explore the wide range of formal possibilities of the material of language within the spatial and kinetic dimensions of art. Here letters do not correspond to semiotic language, but instead show a curiously textual approach to sculpture, in which words are not so much read as felt. In a review from July 1968, Guy Brett wrote of the Elemental Balloon Poems:
‘One room is entirely filled by large, soft coloured balloons. They are revolving on stands which keep them full of air at a low pressure and light them up inside. The orange Balloon is ringed at its centre by the word “earth” printed without gaps so it spells “heart” as the balloon circles. The green one has ocean bobbing up and down just below the center and so on. These objects dispense with descriptive words, and try to intensify a single word by linking it to an easily grasped experience of space and interval’
Also exhibited is Shadow Box (1965), Cox’s first poetry machine initially shown at the OXPO 2nd International Exhibition of Experimental Poetry, Oxford in 1965. Thrown into the river by Oxford students protesting the farcical nature of the exhibition, the work has been revived and will feature alongside other rarely seen drawings and ephemera. Also included is documentation relating to the 30ft high floating version of The Three Graces (Love, Beauty, Passion) (1967). Made for the Concrete Poetry Exhibition, Brighton Festival, it was destroyed in a storm after being at sea for 10 days.
Kenelm (Ken) Cox studied at Bristol Art College and later at Camberwell School of Arts and Crafts. A native of Gloucestershire, Cox returned in 1962 to Kingscote and began teaching at the Gloucester College of Art in 1964. During this time Cox became an early member of the GLOucestershire groUP or GLOUP – ‘Glo’ster Gro’up of Concrete and Kinetic Poets’. The members of GLOUP comprised of the artists and poets John Furnival, Ken Cox, Dom Sylvester Houédard, Charles Verey and Thomas A Clark. It was from this fertile ground that Cox developed his very particular orientation in concrete poetry.
Ken Cox was included in various significant exhibitions of concrete poetry and experimental art, including OXPO 2nd International Exhibition of Experimental Poetry, St. Catherine’s College, Oxford (1965), Between Poetry and Painting curated by Jasia Reichardt at the ICA (1965), Concrete Poetry Exhibition, Brighton Festival (1968) and the groundbreaking Cybernetic Serendipity, also curated by Jasia Reichardt at the ICA (1968).
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