Our fixation with the royal engagement was never going to be placated with some souvenir mugs and a bunch of commemorative memorabilia. As if to answer to an unspoken call, artist Jennifer Rubell is exhibiting a thought-provoking body of work in response to the official announcement, marking her first UK solo exhibition.
Rubell (of Rubell Family Collection fame) is known for her participatory artwork that sits somewhere between installation and performance art. 'All the work I create has to do with interactivity between the viewer and an object of some kind, whether that be durable, like the material in this exhibition, or consumable like food,' she explains. Back in 2009, at a New York gallery, she even had visitors feasting on a pile of ribs mounted on a plinth, onto which honey dripped from the roof.
The centrepiece of this exhibition at London's Stephen Friedman Gallery is a life-sized wax model of Prince William standing on a low plinth in the exact stance seen in the engagement announcement photograph. He holds a replica of the famous sapphire and diamond ring, but this time, sans Kate Middleton. Rubell invites the public to step up onto the plinth and slide their finger through the ring. Anyone can play the role of fiancé, making the experience part formal, part seaside entertainment.
'When I first saw the official announcement picture, what struck me was that Prince William's position felt very sculptural,' says Rubell. 'I immediately understood that there could be an opportunity for people to engage with this sculptural element.'
But the work has a strong dose of fantasy to it too. 'As a woman, I look at that photograph, and wonder what it would be like to be in that position. I'm the last person in the world to look for "prince charming", but I'm still curious. It's an instinct that's in all women, and the interaction gives you a chance to validate that instinct, rather than to judge it.'
The exhibition's title, Engagement, speaks about more than just the impending nuptials - it also points to the viewer's interaction with the sculptures on display. Taking the latter further is a second series of 'drinking paintings', which Rubell has mounted to the exact scale of the portrait of William IV that hangs behind the real posing couple in the photograph. A tap protrudes from each canvas, from which visitors can poor themselves a drink.
Gradually the works become more and more splashed with alcohol - art in motion, if you like. And, as an added bonus, each tap offers a different tipple, including sloe gin, Irish whiskey, rum or Madeira, so there's something for every taste.
The artist invites visitors to step onto the plinth and slip their finger into the ring.
Jennifer Rubell plays the role of Prince William's fiancé.
'When I first saw the official announcement picture, what struck me was that Prince William's position felt very sculptural,' says Rubell. 'I immediately understood that there could be an opportunity for people to engage with this sculptural element.'
Anyone can play the role of Miss Middleton, making the whole thing part formal, part seaside entertainment.
Also on show at Stephen Friedman Gallery is a second series of Rubell's 'Drinking Paintings', from which visitors can poor themselves one of four tipples - sloe gin, Irish whiskey, rum or Madeira ‘Drinking Painting #9: Gin’ Canvas, birch plywood, MDF, stainless steel, gauge, tap and gin 220 x 169 x 100cm (106 3/4 x 70 1/2 x 10 5/8in)
All images © the artist and courtesy of the artist and Stephen Friedman Gallery.
‘Drinking Painting #9: Gin’ by Jennifer Rubell, 2011 Canvas, birch plywood, MDF, stainless steel, gauge, tap and gin 220 x 169 x 100cm (106 3/4 x 70 1/2 x 10 5/8in)
All images © the artist and courtesy of the artist and Stephen Friedman Gallery.
‘Drinking Painting #9: Gin’ by Jennifer Rubell, 2011 Canvas, birch plywood, MDF, stainless steel, gauge, tap and gin 220 x 169 x 100cm (106 3/4 x 70 1/2 x 10 5/8in)
All images © the artist and courtesy of the artist and Stephen Friedman Gallery.
From the 'Courage' exhibition in New York by Jennifer Rubell, May 2010
The hammers seen here were used by participants to break down a styrofoam wall, revealing an adjacent room with long tables set for a family-style meal with 16 legs of lamb and knives for carving.
From the 'Courage' exhibition by Jennifer Rubell, May 2010
The safety goggles used to shield participants as they broke down the temporary wall.
From the 'Courage' exhibition by Jennifer Rubell, May 2010
Visitors in action in the gallery
From the 'Icons' exhibition at Brooklyn Museum of Art by Jennifer Rubell, April 2010
Seven identical casts of Rubell's head in Fontina cheese were suspended from the ceiling, with heat guns strapped to each one, melting the 'heads' onto a pedestal of crackers below.
From the 'Icons' exhibition by Jennifer Rubell, April 2010
In a separate space there were pedastals holding giant cuts of beef, lamb, pork and turkey, accompanied by carving tools and butchers' aprons.
From the 'Icons' exhibition by Jennifer Rubell, April 2010
After 'dinner', participants congregated in the exhibition space lobby, where they were confronted with a 20-ft tall piñata of Andy Warhol’s head.
From the 'Icons' exhibition by Jennifer Rubell, April 2010
Guests used baseball bats to break into the piñata, which revealed classic American chocolates and sweets.
A wall of donuts from the 'Old Fashioned' exhibition at LACMA by Jennifer Rubell, April 2010
On entering the gallery, visitors were confronted by a huge wall of donuts, which they could eat, hung in a grid formation at perfect 6-inch intervals.
ADDRESS
Stephen Friedman Gallery
25-28 Old Burlington Street
London W1S 3AN
-
The most whimsical hotel Christmas trees around the worldWe round up the best hotel Christmas tree collaborations of the year, from an abstract take in Madrid to a heritage-rooted installation in Amsterdam
-
Stone dials are making a comeback: here are the watches doing it bestWatches with hard stone dials are enjoying a surge in popularity
-
These illuminating fashion interviews tell the story of style in 2024Selected by fashion features editor Jack Moss from the pages of Wallpaper*, these interviews tell the stories behind the designers who have shaped 2024 – from Kim Jones to Tory Burch, Willy Chavarria to Martine Rose
