Day 2

Disobedient objects. This exhibition was unlike any other exhibition I had been to before. The objects that were on display were symbols of more than art, with each object taking you back to the present moment of the specific powerful event. 

Throughout the exhibition the feeling of helplessness hung over me, which took me quite aback. This was due to knowing that in the moment I could only sympathise for the protesters and do nothing more.

The most powerful object to me was the face cast of John Joe 'Ash' Amador on the 'Tiki Love Truck', (Fig. 1 and 2) because it was very uncomfortable to look at yet I couldn't look away from it. It acted as a symbol reminding the authorities that the effects of the death penalty were still present in this form. I really admired the aspect of the every inch of the truck being covered in strong symbols because this would have raised much more awareness and responses from the public.

Fig. 1

Fig. 2

After this chilling exhibition, I discovered the 'Constable: The Making of a Master' exhibition alongside the paintings room at the Victoria and Albert museum. I thought this was a great contrast to the architectural models I had viewed because it gave me a better sense of experiencing the different environments that were projected from different collections.

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At the Serpentine Pavilion, a giant cream shell, egg, or donut like structure floats upon great angular boulders, which leaves one quite perplexed as to what could be inside. A cafe is situated inside the shell, I thought this was a pleasant addition to the installation because it welcomed more interaction between the public and the structure. This shell is a temporary piece of architecture created by Smijan Radić, a Chilean architect.

I wasn't entirely ecstatic at the exterior's texture because it reminded me of raw paper mache. Although, I admired the colours of burnt reds, yellow ochre, and browns in the interior, which shone through the resin and fibreglass base. (Fig. 4 & 6)

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