Calum Storrie

Tibet’s Secret Temple, 2016

For the Wellcome Collection exhibition Tibet’s Secret Temple, I created a series of rooms arranged in a spiral around the central space showing murals from the Lukhang Temple in Llhasa. The thematic rooms were distinguished by vibrant colours and overlapping planes.

Lighting – DHA Designs
Graphics – Wellcome Trust Design Office
Photographs – Wellcome Collection

Forensics, 2015

Forensics explored the history, science and art of forensic medicine. The exhibition included original evidence, archival material, photographic documentation, film footage, forensic instruments and specimens, and artworks.

From the initial proposal to the finished exhibition the layout of Forensics changed very little. The brief identified a number of themes that were translated into spaces with their own identities and atmospheres: ‘the Crime Scene’, ‘the Morgue’, ‘the Laboratory’, ‘the Search’ and ‘the Courtroom’. The design exploited a number of different visual effects using, for instance, a two-way mirrored wall and a long tunnel making a transition from a light room into darkness.

Lighting – DHA Designs
Graphics – Wellcome Trust Design Office
Photographs – Wellcome Collection

This small not-for-profit gallery in central London is devoted to various aspects of Russian and Soviet art and design. My work for them has involved making a number of distinctive interiors at short notice and within a limited budget. This allows for a degree of experimentation.

All pictures courtesy of GRAD.

All graphics: Katya Sivers

Unexpected Eisenstein, 2016

The design here created a semi-enclosed ‘cinema’ space that was interrupted by the grid layout of the cases. The half drum also served to create a title wall and an oblique entry into the exhibition.

Bolt, 2015

Shadows from the central structure here were ‘projected’ onto the walls creating a series of disorienting planes.

A Game in Hell: The Great War in Russia, 2014

The labyrinthine layout of this documentary exhibition used, as its starting point, the alleyways and impasses of the trenches.

Work and Play Behind the Iron Curtain, 2014

This exhibition on Soviet design used a central plinth that mimicked the ziggurat of Lenin’s mausoleum.

Kino/Film: Soviet Posters of the Silent Era, 2014

Installing the exhibition with the curator, Lutz Becker

See USSR, 2013

The first exhibition at GRAD dealt with Soviet travel posters. The showcases and plinths have been re-used and adapted on a number of occasions.

Virginia Woolf, 2014

Graphics – NPG in-house design office
Photographs – National Portrait Gallery

This exhibition told a complex story in a relatively small space through paintings, photographs and written texts. The design responded to the importance of certain interiors in Woolf‘s life by suggesting a series of overlapping rooms. At the same time it reflected a curatorial desire to place Woolf‘s ideas and work within the context of Modernity.

The Young Dürer Drawing the Figure

Plinths for double-sided drawings, one of a number of projects for showcases and other display elements for the Courtauld Gallery.

Photograph courtesy of the Courtauld Gallery.

A fragment of Orhan Pamuk’s Museum of Innocence in Istanbul that came to Somerset House in 2016. The small display referred to the Museum’s interior whilst creating a separate identity making the most of the domestic scaled spaces in which it was installed.

Graphics: Amy Preston
Photographs courtesy of Somerset House.

Oslo

In 2017 a second version of the exhibition was installed in the Kulturhistorisk Museum, Oslo as 'Orhan Pamuk; The Art of Fiction'. This installation exploited the possibilities of a single long room by taking visitors on a dramatic journey through the exhibition.

Kulturhistorisk Museum, Temporary Exhibitions, Orhan Pamuk

Photo: Museum of Cultural History, University of Oslo / Ellen C. Holte

At the Mile End Art Pavilion. Designed in collaboration with Caitlin Storrie.

This exhibition, curated by Robert Devcic of GV Art, was organised as part of the HUBBUB research project under the auspices of Wellcome Trust. The display was conceived as a series of pavilions and fragments of walls accommodating varied exhibits from visual and sound art to a temporary radio station. Here is an interview with one of the initiators of the project, James Wilkes.

Studio International / Hubbub

Photographs courtesy of Caitlin Storrie and Peter Kidd.

Drawings and Other Noises

In May 2017, I showed a selection of my drawings in the exhibition 'Drawings and Other Noises' at Park Studios, London. This was a collaboration with Geoff Winston (A Sculpture Fell in my Coffee) who also designed the booklets that accompanied the exhibition.

Museum of Capitalism

I wrote an essay for the catalogue of the (temporary) Museum of Capitalism in Oakland California. The essay is called 'Between the Archive and the Street'. You can see the book here.

Museum of Capitalism

Terry Smith

The installation of Terry Smith’s preparatory sketches for ‘Capital Revisited’ at The Drawing Center, New York, 2013. The original installation was at the British Museum in 1995. Here is a recording of the public discussion we had at the Drawing Center.

Crossing Borders

Here is a link to a talk I gave at Siobhan Davis Dance Studio in 2013 in the ‘Crossing Borders’ programme. You’ll find the talk half-way down the page under Crossing Borders 2013

Interim Proposal

Interim proposal for a new wing to house the collection of ‘installation and performance art’ of the Delirious Museum, Department of Art, 2009. Download pdf.

Artists Work

In 2013, I contributed to a book of essays: ‘Artists Work in Museums: Histories, Interventions, Subjectivities’, edited by Matilda Pye and Linda Sandino. The book was published by Wunderkammer Press in association with the V&A. My essay is entitled After the Delirious Museum.

My work prior to December 2012.

Archive

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