Gallery Hours for Elaine Buckholtz… The Cot Piece Revisited (2002-12013)`
March 16 – March 20, 2013
The Luggage Store is honored to present Elaine Buckholtz, The Cot Piece Revisited (2002-12013).
In November 2002, Buckholtz had her first solo exhibition at the Luggage Store. It was co director and curator Laurie Lazer’s wish to — at one point in time, to showcase a singular work from this exhibition“The Cot Piece.”
Rather spur of the moment, Lazer contacted Buckholtz to question the possibility of this happening…This insstallation is the result of that brief conversation.
The cot piece in 2002 was an interactive work, with meditative and restful qualities. The work invited the viewer to lay down on an old army cot or stretcher. Suspended from the ceiling, a large metal caldron/speaker with an original experimental soundrack created by Buckholtz’ rotated above the head and the upper torso of the viewer.
The gallery attendant had the ability from a control panel to mix scores and “live” sounds for the viewer, to alter the level of the sound score, and to rotate the speaker. The viewer can also elect to rotate the speaker on their own and/or stop at any point in time. (The time on the cot per viewer may vary according to how many people are in the gallery waiting.)
In 2013, the piece evolved and Buckholtz’ collaborator collaborator Floor Van De Velde created a new score for Cot Piece..This soundtrack is played thru the speakers. Buckholtz has lit the entire gallery.
The work is at once sensory and meditative in nature.
One person at a time is invited to lay on the cot, while others may have a seat in the gallery.
The work in the small room, “Tripod Piece” in the main gallery,is intended to assist people coming from the street towards moving into moving into a more quiet and calm space, and in preparation for lying on the cot. This piece is shown, courtesy of of Electric Works; SF.
On the mezzanine level, visible from dusk to dawn is another work from Buckholtz’s first solo show, “The Tundra.” It has been placed in the mezzanine level for outdoor viewing dusk until dawn…The piece has morphed slightly, from “The Tundra” to a somewhat shorter work, which Bukcholtz jokes and refers to as “her self portrait.”