Tag Archives: monument

From Bermondsey to Victoria and all places in between…

14 Apr

I don’t make it over to White Cube Bermondsey as often I’d like. I know it’s not really that far away but it’s just not somewhere I amble past on a very regular basis. So when I found myself with a meeting on Bermondsey Street it was too good an opportunity to miss.

Their primary exhibition is Chuck Close Prints: Process and Collaboration which explores the artist’s graphic oeuvre from when he made his first print in 1972. This isn’t the side of Close with which most of us will be familiar – we’re more au fait with his large-scale ‘heads’ – but this is a side that definitely deserves attention. Close’s experimentation with the media of printmaking is endless and fascinating; he is able to bring it to life, even turning mistakes or problems to his advantage. Alex/Reduction Block from 1992 was never intended to be end up like this which highlights the flexibility and ingenuity of both Close and his collaborators. The work was planned as a block reduction print but when the original linoleum cracked in the cold, they had to substitute it with an inferior material. More problems followed. They continued to cut the replacement linoleum despite knowing it was never going to work as a block reduction and documented the progressive stages by printing them in black on Mylar which resulted in a project perfect for silkscreen printing. The various shades of grey give Alex Katz’s face a shimmering metallic quality.

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Alex/Reduction Block in the distance at White Cube. Image via www.distortedarts.com.

Process has always been of the utmost importance to Close. If he has tried one method of printmaking he’s tried them all over the past forty years and it is his perseverance (he now works from the confines of a wheelchair after a spinal artery collapse) with his artworks and interrogatory use of materials that creates such wonderful qualities.

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Moving through the exhibition. Image via www.whitecube.com.

Close also breaks down the methods of printmaking, revealing the various stages involved through his reworking of the same subjects. Rather than diluting his intention this often enhances it, encouraging us to study a face in the same way that he must. This is a truly excellent, explorative and engaging exhibition and one that caught me rather by surprise – especially as it hadn’t been in my schedule for last week or even on my current list of things to try to see.

I would have liked more time in the gallery but I did manage to stop to see Eddie Peake’s installation – I just couldn’t walk past the naked figure in a see-through costume on roller-skates without seeing what was going on. It was all part of Peake’s Adjective Machine Gun, a major sculptural installation closely based around the old penguin enclosure at London Zoo – an iconic and easily recognisable structure. The walls act as an enclosing amphitheatre that both reveal and conceal the performer and the other works that form part of this. This is the first time Peake has married the two parts of his practice as he previously kept his sculpture and painting separate to his performance. I felt that this combination didn’t quite gel and the static works lacked some of the coherence of the performance elements.

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Eddie Peake, Adjective Machine Gun. Image via www.whitecube.com.

As is so often the case with performance, it was fascinating to watch the reactions of others: one man seemed quite affronted as the performer sped past him – I don’t think he’d anticipated being quite that close; one girl seemed embarrassed; while someone else was revelling in the intentional voyeuristic qualities of the piece. And I became so caught up with people-watching that after about five minutes I started to wonder where the skater had gone. He had crept up behind me and seemed to be leaning against the wall watching me. Is he meant to be oblivious to the audience and just contemplating the static works or is part of the wonder of the piece the duality of the voyeurism as we watch him watching us?

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Eddie Peake, Adjective Machine Gun. Image via www.contempoaryartsociety.org.

The following evening I decided to crack on with the shows I had intended to see. It had been a while since I last went on a private view evening but Wednesday promised some exciting openings and so we set off with a route in mind and a beady eye on the clock, determined to fit everything in.

First up was Art First – I have spent a few days in a quandary over this exhibition as I was drawn to the works but found they presented quite a bland group. Get up close and sometimes they are individually remarkable. On discovering Thomas Shelton’s 17th century system of shorthand, Simon Lewty found the perfect written code with which to experiment. His fascination was further heightened when he learnt that Samuel Pepys had used the very same method in his diary. Lewty taught himself Tachygraphy – no easy challenge – and has used this script to tell his own narratives. How often do people sit and write now? For so many, handwriting is becoming a thing of the past yet Lewty uses this time-honoured method to take us on a journey. So what was missing? I truly don’t know and maybe I need to return to reflect on the works in the gallery at a quieter time.

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Simon Lewty’s language. Image via www.artlyst.co.uk.

One of the shows I had been most excited to see was Tell Me Whom You Haunt at Blain Southern but I left disappointed – the show seeks to place works by ten contemporary artists in conversation with Marcel Duchamp but at times it feels irrelevant, confusing and bland. So many artists can relate their ideas and concerns back to Duchamp that I don’t think anything ground-breaking is going on between these walls. The first room is stronger and also aesthetically more pleasing but the second rooms loses its life. The exhibition title stems from an age-old French proverb referring to the idea that readymades spatially relinquish their previous significance and assume a shifting identity when they are re-contextualised. They cease to become the objects that they were intended to be and, instead, become something of the artist’s own making. The ideas behind some of the individual works are lost here and would have been far stronger seen in a different form of exhibition at the gallery. Maybe their connection to Duchamp needn’t have been articulated in such an explicit way. Any exhibition revolving around Duchamp sets its bar high and, for me, Blain Southern didn’t quite vault to greatness this time.

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Sislej Xhafa, Rocket Ship, 2011. Image via www.blainsouthern.com.

Next I made a flying visit to Hannah Barry to see Nathan Cash Davidson’s new drawings. Unusually, the drawings are executed on board which does present a weightier texture than we might expect from the delicacy of some of these works but I remained unexcited. Then onto Orion Contemporary’s celebration of print-making; there is a diverse range of works on display from Swedish Kent Karlsson to Pablo Picasso. Although this is a small show, it is one that must be praised for its brilliant lighting; the works were so well-displayed and the sensitivity of the hang really allows for close study.

The drizzle turned into heavy rain and my shoes weren’t cut out for puddles. Luckily we needed a cab to get to our last venue and we headed to Victoria to Edel Assanti.

Edel Assanti have now been in their new space for over a year and I feel awful to admit that this is the first time I have made it through the doors. However, the gallery is stunning and really shifts Edel Assanti to a whole new level from their previous project space just a few doors down the same road. Their current exhibition of works by Jodie Carey is very striking: seven plaster slabs have been arranged within the gallery, connecting and conversing with one another despite their differing formats. The backs of the slabs are intentionally exposed, revealing the wire and timber used to reinforce the plaster and the hessian sandbags weighting the sculptures down. Carey doesn’t want to hide these elements, instead she reduces these monuments back to their bare bones, challenging the reverence that public commemorations traditionally command. The type of monument that they evoke is left ambiguous and to different people Carey’s slabs will have different resonances.

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Jodie Carey, Untitled (Slabs), 2012. Image via www.edelassanti.com.

The works have a real presence in the gallery – fragile yet monumental, they rose with impressive dominance above the people crowding into the space. Closer inspection reveals that the hand-cast slabs have been painstakingly coloured in pencil crayon by the artist again providing a contrast from the usual industrial mechanics of large-scale monuments. The pastel colouring conflicts with the apparent strength and verticality of the forms presenting another inherent contradiction on which Carey leaves us to ponder. But the fragility and vulnerability of these works is what makes them arresting and, in fact, it is this fragility that makes a seemingly simple abstract form somewhat inescapable.

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Jodie Carey, Untitled (Slabs), 2012. Image via www.edelassanti.com.

I was so impressed by the exhibition that I have no doubt I will be visiting far more regularly. After all Victoria is only ten minutes from Fitzrovia in a taxi and we know I’m good at hailing those.

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Chuck Close Prints: Process and Collaboration and Eddie Peake: Adjective Machine Gun are at White Cube Bermondsey until 21st April 2013, www.whitecute.com.  Simon Lewty: Absorption is at Art First until 11th May 2013, www.artfirst.co.ukTell Me Whom You Haunt: Marcel Duchamp and the Contemporary Readymade is at Blain Southern until 18th May 2013, www.blainsouthern.com.  Nathan Cash Davidson: Your’e French Gerdarmes with Me is at Hannah Barry Gallery until 8th May 2013, www.hannahbarry.com.  A Celebration of Printmaking is at Orion Contemporary until 20th April 2013, www.orioncontemporary.com.  Jodie Carey: Untitled (Slabs) is at Edel Assanti until 11th May 2013, www.edelassanti.com.

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Rocking and Rolling: the fourth plinth, Hauser & Wirth and Sadie Coles

26 Feb

I didn’t manage to make it to Trafalgar Square for the 9am unveiling of Powerless Structures, Fig. 101 last Thursday but I did amble along in the afternoon while they were clearing away from the pomp and circumstance of the morning.  Tourists were giving the work a casual glance as if it had been there for years, nobody seemed too perturbed by the latest fourth plinth sculpture, shining resplendent in the sun.

This, the 8th commission, by artists Elmgreen & Dragset, is a 4.1m high, golden bronze sculpture of a boy astride a rocking horse.

Elmgreen & Dragset, Powerless Structures, Fig. 101, 2011. Own photograph.

The fourth plinth was originally intended for a bronze equestrian statue and the installation of this new work directly engages with the history of the plinth itself, taking it back to its roots.  The planned sculpture in the 1840s was of King William IV but now a child has been elevated to the status of the other heroes honoured in Trafalgar Square.  The work celebrates heroism – the heroism of youth and of growing up, asking us to look at events in our life that we often skip over without due reflection.  The child plays on his horse, conquering the world and leading his imaginary army to victory.

Elmgreen & Dragset, Powerless Structures, Fig. 101, 2011. Own photograph.

I don’t think the designers of the fourth plinth ever envisaged an equestrian statue like this.  Elmgreen & Dragset are gently mocking tradition but, at the same time, they have modernised it without being patronising, successfully engaging with past purpose and intention.  The monument cannot honour the figure’s history as he is only a child so it honours his future.  Cheeky?  Yes.  Derogatory?  No.  With a raised arm referencing classical works of the past, the work is both contemporary and historical.

Trafalgar Square. Own photograph.

It’s not my favourite piece to adorn the plinth and I do now rather miss Yinka’s boat but Powerless Structures is not offensive and I see why the Mayor’s Office may have wanted a relatively tame piece up for the Olympics.  The public are able to instantly engage with this work.  It’s obvious, it’s eye-catching, it’s pretty.

After a refreshing cup of tea, I headed over to Hauser & Wirth to catch their two new exhibitions, the openings of which I had missed a couple of nights previously but I hear that their brass band caused quite a stir and a distraction.

Michael Raedecker, pretence, 2012. Own photograph.

The North Gallery is showing a selection of works by Michael Raedecker who pushes the boundaries of his medium, exploiting texture using embroidery interwoven with the painted canvas.  The subject matter isn’t the most exciting – abstracted scenes of suburban architecture and everyday domesticity such as chandeliers and curtains – but the paintings explore the combination of fine art and craft, of a male painter enlivening a feminine craft.  There is something melancholic and unsettling about some of his scenes, shimmering worlds on distressed, punctured canvases where his use of silver paint adds a new dimension to the works.  The paintings seek to evade a specific interpretation or genre; they pull you in but they don’t quite have the required emotional intensity to keep you there.

Michael Raedecker, detail of strip, 2012. Own photograph.

People seemed to be using Hauser as a resting place and, at times, the window ledge was busier than the gallery.

Hauser & Wirth’s window ledge. Own photograph.

In Hauser’s South Gallery are works by Mary Heilmann – paintings, ceramics and her distinctive chairs.  Heilmann’s paintings conjure a diverse range of moods and atmospheres; they tell her on-going life story, recalling long road-trips or her visits to the sea, watching the wild waves break on the shore.  Rather than seeing her works as individual entities, Heilmann views the entire show as an installation piece and visitors are incorporated in the work.  This explains the chairs!  Ironically, no-one had stopped for a rest in these.  Heilmann wants people to sit down, relax and enjoy the work but the chairs didn’t look particularly stable and, although the security guards encouraged me to do so (with wry smiles) I didn’t fancy the chances of lowering myself into them wearing these boots; I had visions of rolling across the entire gallery.

Mary Heilmann at Hauser & Wirth. Own photograph.

Neither of these Hauser exhibitions has that ‘je ne sais quoi’ to keep me in the galleries very long.  I headed further down Savile Row to Situation, a new gallery at Sadie Coles HQ.  Devoted to the work of Sarah Lucas, Situation (just above the normal gallery space but accessed through a separate door) will show her new installations in February, May, August and November of this year.  The space is intentionally shabby – a disused office that has been transformed.

Entering Situation. Own photograph.

The opening exhibition is signature Lucas and recalls her once highly provocative works from the 1990s – sculptures using found domestic objects where fried eggs and a chicken reference her early works about sexual stereotyping.

Sarah Lucas at Situation. Own photograph.

Her new works use the same things we’re used to and stuffed tights play a strong role in Viz. Nice Tits where concrete casts of thigh-high boots stand on the floor.  Above them hangs a metal grill filled with stuffed tights in the shape of boobs and phalluses.

Sarah Lucas, Viz. Nice Tits, 2011. Own photograph.

The space is only small but I get the feeling Lucas is reeling us in and will expand over the year.  What will she do in May?  Make a bigger bang, I imagine.

Sarah Lucas in MumMum, 2012. Courtesy of Ben Springett.

In the conventional gallery space, there is an exhibition of new glazed ceramics by Paloma Varga Weisz.  Upstairs is quite calm and the works are small, muted and could be mistaken for decorative whereas downstairs is more overt.  Mother shows a figure in a shroud lying on a table, captured ambiguously in sleep or death, either emerging from or receding into the slab beneath.

Paloma Varga Weisz, Mother, 2011. Own photograph.

I had hoped for some more excitement but nothing that afternoon really enlivened me.  My sore feet needed a taxi to carry on to the tunnels for week three of VAULT.

Michael Raedecker: volume and Mary Heilmann: Visions, Waves and Roads  are both at Hauser & Wirth, Savile Row until 5th April 2012, www.hauserwirth.com.  Situation is on the first floor of 4 New Burlington Place for all of 2012, www.sadiecoles.comPaloma Varga Weisz is at Sadie Coles HQ until 25th February 2012, www.sadiecoles.com.

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