<< Gärtnergasse

Guy Gromley - The Interchange

18 October - 30 November 2019

invited and photos by Eugen Wist


Exchange is to do with giving and receiving, whereas interchange, both in terms of definition and in the context of this show, means to replace, to put one thing in the place of another.

The Interchange is an intermediary zone. A strategically emotionless observation room. During production the project moved, somehow inexorably, away from dealing empathically with its subject. It became concerned with the production of an image, one that was recognizable but un-relatable.

The front (street) entrance to the gallery is boarded up internally and a corridor has been constructed to separate the bar and smaller back rooms from the main space. The gallery becomes a sort of dead end, a liminal area. Aesthetically The Interchange references both office and military spaces. The only window was treated with tinted foil as car windows or municipal privacy windows are.

The sound element, fundamentally a recording of the street outside the gallery, also contains a sample taken from sonar underwater imaging technology. This sound is incessant, forever sweeping, checking, scanning, surveilling and translating, turning sound and environment into image. Tied to a sense of unease, these sonic pulses emit from vessels deep below the surface of the earth, as removed from our world as it is possible to be.

The audio loop plays from a DVD player in the bare plasterboard corridor. The player is chained on to the same circuit as one of the corridor lights. During the seconds between the end of the loop and it beginning again one can hear the DVD cease to spin and the actual sound of the room and the road outside can be heard. In the gallery strips of carpet run from the floor to the electrical sockets pointing to the wider electrical grid.

Serving as a preface, installed in one of the outer rooms, is the photograph 'Untitled (green seats) '. An image taken through the back window of a car looking down onto the passenger seats. The print has a heavy green cast as if the car itself was submerged. This effort to look in is inverted in the gallery by the necessity to look out, also through glass.