Untitled Gallery was founded in Sheffield in 1979. It specialised in photography. In 1996 it was renamed Site Gallery and steadily expanded its remit to cover the intersection between science and art. Nearly 30 years and a 拢1.7million refit later, Site Gallery is the new poster child of Sheffield鈥檚 Cultural Industries Quarter, with an exhibition, Liquid Crystal Display, that cleverly salutes its photographic past.
Most shows about art value the results over the ingredients. The picture matters more than the paint. The statue matters more than the stone. Exhibitions about photography give rather more space to process because photography鈥檚 ingredients are so involved and fascinating.
Advertisement
Liquid Crystal Display follows this photographic logic to its end. This is a show about the beauty, weight and messiness of materials we notice only when they鈥檝e stopped working. It鈥檚 about the beauty created by a broken smartphone screen, a corroded battery, a cracked lens.
Site Gallery鈥檚 new exhibition 鈥� a cabinet of curiosities if ever there was one 鈥� collides science and art, the natural and the manufactured, the old and the new. It puts the exquisite sketches of 19th-century Scottish chemist and photographer Mungo Ponton (detailing his observations of how crystals polarise light), next to their nearest contemporary equivalent: microscopic studies (pictured) of liquid crystals caught in the process of self-organisation by Waad AlBawardi, a Saudi molecular biologist who鈥檚 currently in Edinburgh, researching the structure of DNA organisation inside cells.
This provocative pairing of the relatively simple and the manifestly complex is repeated several times. Near a selection of crystals from John Ruskin鈥檚 mineral collection sit the buckets, burners and batteries of Jonathan Kemp, Martin Howse and Ryan Jordan鈥檚 The Crystal World听project, a tabletop installation recording their hot, smelly, borderline-hazardous effort to extract the original minerals from bits of scavenged听computers. Curated by Laura Sillars, assisted by Site Gallery鈥檚 own Angelica Sule, Liquid Crystal Display reveals the material, mineral reality behind our oh-so-weightless holographic world of digital imagery. 鈥淟iquid crystals polarise light, produce colour and yet, as a material form, recede into the background of technology,鈥� Sillars wrote in the catalogue to this show.
This awareness is not new, of course. In the 1960s, liquid crystals were being burned on overhead projectors to create psychedelic light shows. J G Ballard鈥檚 novel The Crystal World (1966) concocted a paranoid vision of a world and a civilisation returned (literally) to its mineral roots. That story receives a handsome homage here from the scifi-obsessed Norwegian artist Anne Lislegaard, whose stark monochrome animation (above) turns the sharp shadows and silhouettes cast by contemporary domestic furniture into insidious crystalline growths.
Arrayed within Anna Barham鈥檚 peculiar hexagonal cabinetwork, a gigantic piece of display furniture that is itself an artwork, the pictures, objects, films and devices in Liquid Crystal Display speak to pressing topical worries 鈥� resource depletion, environmental degradation, the creeping uncanny of digital experience 鈥� while at the same time evoking a peculiar nostalgia for our photochemical past.
The exhibition lacks one large signature object against which visitors can take selfies. A peculiar omission in a show that鈥檚 relaunching a gallery. And a bit of a shame for an exhibition that, in its left-field way, has handsomely captured the philosophical essence of photography.
听
runs at SITE Gallery, Sheffield, to 27 January
