In recent years London-based artist Peter Liversidge has become known for his polymathic approach to exhibition making, inundating curators with pages of proposals which are usually sent via the post.
The series recounts the bizarre psycho-sexual adventures of a lady’s elbow length glove, dropped on a Berlin roller-skating rink and picked up by Klinger himself. The action that follows, in a series of dreams and nightmares, anticipates both the psychoanalytical theories of Freud and the hallucinatory artistic style of the Surrealists.
This exhibition unpicks Klinger’s story in two parts; all ten of Klinger’s original etchings have been painstakingly remade, each one at a giant scale, so that the tiny image of the original grows to life-size, revealing all of the marks of its making. In front of each frame, as if dropped from the scene, sits a glove, hand carved from white Carrara marble. Part of the gallery has been transformed into a panelled room in a late 19th-century style: an imagined parlour from Klinger’s Leipzig home that appears to contain a suite of Klinger’s original prints. On closer examination, however, the artworks turn out to be subtly altered facsimiles of the etchings made to precisely the same scale as the originals, becoming a further extension of the journey from one artist’s imagination to another.