Dressing The Air is the brainchild of the London-based artist Paul Schütze.

In a career spanning 30 years, Schütze has exhibited his photographic and installation works in galleries and museums around the world, released over thirty albums of original recordings, scored a number of films and performed numerous concerts. He has collaborated with artists such as James Turrell, Josiah McElheny and Isaac Julien and musicians as diverse as Bill Laswell, Raoul Björkenheim, Toshinori Kondo, Lol Coxhill and Jah Wobble.

Dressing The Air is a unique open resource that aims to enrich creative thinking by encouraging a multi-sensory approach. A constantly evolving archive and creative news feed, Dressing The Air monitors and reports on a diverse range of art-forms from cinema to sculpture, painting to furniture design, land-art to perfumery.

dressing the air: the bureau of sensory intelligence

a creative resource to provoke and inspire

Bill Viola
Bill Viola

26/06/13

Bill Viola

Exhibitions of new work by Bill Viola do not come along frequently. Each one seems to signal technological advances, philosophical refinements and further steps toward a deeply meditative stasis. It is not difficult to imagine pieces, some time in the near future, in which movement of any sort takes place at such a primordial pace as to become completely imperceptible. This series of new works each deals with Viola's rather ecumenical mysticism, his ongoing fascination with water as a symbol and his pre-occupation with the passing of time. The technical perfection of the images is so acute as to strip all texture of "making" from them. I found myself hankering after the optical fizz of video, the noise and surface, which in earlier works (Five Angels For The Millennium for example) seemed deliver the fundamental mysticism more effectively. Until the 27th of July.

Blain Southern
"The upper ones include a strange picture room where a large collection of pictures and drawings is arranged on a series of huge wooden pages that fold into the walls, the last set of them on one side opening onto emptiness so we plummet in imagination to the basement."
- Robert Harbison, 1977, Eccentric Spaces