Great Expectations Exhibition - Casson Mann - New York
-Institution
as producer: agendas-
The Great
Expectations exhibition was designed and created by Casson Mann and his team in
2001. The agenda for the exhibition was
to create a piece of temporary work for the Design Council that would showcase
and promote contemporary British design. Great Expectations was a travelling
exhibition, which opened up in Grand Central Station on the 14th
October. The boundary with the
exhibition was the space had thousands of travellers passing through every
day. What Mann did create had to be both
eye-catching and suitable so that it wouldn’t delay the flow of people through
the station but stop people in their tracks.
-Nature
and content of collection/artifacts: convention-
The
content of the exhibition collection consisted of many objects showcasing
British design. Exhibited was 100
objects covering architecture, fashion, product and web design, interactive
media, advertising, software, graphics, film and TV. Some products at first
glance may have appeared quite ordinary but appearances are deceptive.
-Exhibition
methodology; narrative-based, performance-based,
Simulation-based
/ immersive-
“We
looked at the space and thought it would be great for a banquet – where you get
conversation, dialogue. So the idea developed of inviting people to sit at a
huge long table and engage”
Taking
inspiration from the banquet scene in Charles Dickens novel, constructed was a
50metre long banquet table. The table
was essentially an enormous light box covered in the dramatic display of British
objects. Around the table were chairs inviting passers by to join in on the
‘feast.’ This allowed them to engage with the piece by looking or actually
sitting down, becoming part of the installation. The interaction with the exhibition was
essential in stopping individuals to create a conversation and
interaction. The display incorporated
speech bubbles with dialogues relating to the objects laid out on the table. The
scatter of objects symbolized the moment after a meal and the remains of place
settings are left about for conversation to begin.
'The
banqueting table is internationally recognized as a space where acquaintances
are made, plans forged and deals done. We were interested in the idea of
conversations rising and falling along the table - across the table, in groups,
side by side.' Roger Mann
-Spatial
context: architecture, urbanity, and landscape-
The
Vanderbilt Hall in Grand Central Station was the location for the opening of
the temporary travelling exhibition. Mann sought to create one single structure
that would fill the space. The
architectural space was long, narrow and a very high room of 12m high slabs of
pink marble. Dangling from above are
numerous large chandeliers adding a light aesthetic and fitting in with the
banquet table theme. As to not disrupt
the flow of people through the space, the surface of the table, the
'tablecloth' is lifted into the air, through the center as if caught in the
wind. The 'tablecloth' created a canopy to pass under as well as provided
a vertical surface to display upon. Enticingly light was most definitely
an important aesthetic to catch the attention of people. Projected onto the walls and floor coloured
light flooded the room. The ever-changing
theatrical lighting lent a sense of drama to the installation, transforming and
defining the space. Further lighting was installed outside the building,
positioned through the windows, enticing outsiders to the building to
investigate the exhibition within.
-Technology:
new media-
Casson
Mann had assembled a scene that would form discussion and interchange with
people and the site. Speakers and
screens were incorporated into the exhibition through the chairs and table
allowing guests to learn more. The
information told them about the ideas that inspired these creations and the
processes involved in bringing them to life.
-Audience:
target market-
The target market was anybody and
everybody, its aim was to stop people and educate them about British Design in
an engaging and interesting manner. The
exhibition was assessable to all and any age group; the element of understanding
was just down to the individual. The vast display drew the audience in to the
display and collection of British Design. The long table was a simple yet symbolic
statement, it didn't make material alterations to the station space but it did
change the visitor’s perception of it.
