Posted: March 21st, 2014 | Author: Mark Sheerin | Filed under: contemporary art, digital art, graphic novels | No Comments »
The first human to live for 500 years has already been born. So suggests a digital graphic novel by artist David Blandy, illustrator Daniel Locke and writer Adam Rutherford.
Helix launches next month and promises users the chance to interact with spider goats, DJ Kool Herc, Crick and Watson and the Great God Pan. But let me expand on that.
Spider goats are one of the finest achievements of the burgeoning field synthetic biology. They can spin web from their udders and this, apparently, has commercial applications.
DJ Kool Herc, a predecessor of this natural history mash up, features here as the inventor of hip hop. Professional fan Blandy has dropped him into the convoluted story of DNA.
As you may know, Francis Crick and James Watson also feature in that tale. But before uncovering the structure of genetics they worked on the Manhattan Project, another twist.
(Blandy and Locke also quick to give props to Rosalind Franklin who, despite her contributions to her colleagues’ discovery, missed out on the Nobel Prize.)
Pan comes into it as a foreshadowing of the goat story. He makes for a great illustration, in homage to Goya, holding court with worshippers complete with evil horns.
Locke drew inspiration from 1950s text books and and has worked up the four chapters of history and narrative in a flat, approachable and lucid style.
And what with the A-bomb, the hip hop, and the barefooted wanderer, who here lives to be 500, the project enfolds much of Blandy’s previous work as thoroughly as a double helix.
The pair were speaking at Lighthouse in Brighton on Thursday evening, along with a rep or two from Storythings, the digital agency which has brought the project to life.
But the two visual artists are keen to see a print version of their saga and hinted that the story could grow and grow, getting progressively more cosmic as it goes.
Graphic novels get a hard time in mainstream culture. Neither fine art nor works of literature they are often viewed with suspicion by traditional artists and writers.
But I found that after tapping through Helix on an iPad, just once, it really sunk in. This is surely a medium, given our web-fried memories, whose time has come.
Helix is a commission by Lighthouse and launches on April 8 2014. For more info on David Blandy visit his site, and watch a few of his films. Daniel Locke, meanwhile, is awaiting the publication of another graphic novel, 311 Ditchling Road, from Nobrow Press.
Posted: March 7th, 2014 | Author: Mark Sheerin | Filed under: biennials, contemporary art | Tags: Marrakech, Marrakech Biennale 2014, MB5 | No Comments »
I lucked out with this: a press trip to the fifth Marrakech Biennale. Having never before visited North Africa, culture shock kicked in before we had even checked in at the (palatial) hotel.
As you see from this piece of guerilla marketing, the event asks ‘Where are we now?’. On my first night I was advised by some more experienced local hands to have adventures and ‘get lost’ here.
Asim Waqif’s sound sculpture, The Pavilion of Debris, jockeys for attention with a number of nesting storks. The locals revere these migratory birds and the city was once home to a stork hospital(!)
My understanding of nomadic war machines is limited, but I imagine they would look something like this super-charged crossbow. Max Boufathal reportedly has popular culture in his sights.
This is perhaps the most talked about exhibit on opening week, an F1 engine made locally using craft materials. 50 different craftsmen and women were apparently used to construct this sculptural beast.
Possibly one of the strangest gigs this musician has ever been booked for. Gabriel Lester walled up a gnawa band inside a performative sculpture. I’m still not quite sure why, but it was compelling.
Here you see an offline, open source, 3D printer engaged in crafting the model of a star shaped clay dwelling. Operators, Urban Fab Lab, aim to one day work on life-size scale in rural Africa.
This was Hicham Benohoud’s iconic signage on the Bank Al Maghrib. Whether or not the Biennale has flipped this city on it’s head, there were plenty of sights to flip out this foreign visitor.
My favourite work, a geometry lecture at twilight in the city sqaure. As you can just about see, Saâdane Afif is here discussing the circle with an audience of everyday Moroccans, who were rapt.
Of all the venues, this unfinished opera house was the most impressive. The Theatre Royal now houses a sound installation by freq_out, in which 12 composers work in 12 stirring frequencies.
Finally, a proper showstopper by Alexander Ponomarev. Take one desert, one helicopter, one monumental installation of a ship and mix up with a set of letters in the sand to breathtaking effect.
And finally, a tortoise, attempting in vain to climb a step at the festival hub El Fenn. So long little guy! I get the feeling he’ll still be here in 2016; let’s hope this cosmopolitan Biennale is as well.
Posted: February 23rd, 2014 | Author: Mark Sheerin | Filed under: painting, war art | Tags: Sandham Memorial Chapel, Stanley Spencer, tea, WWI | No Comments »
It may have been said, but a full century before the meme took off, Stanley Spencer painted works which embodied the suggestion we should ‘Keep Calm and Carry On’.
Here you see orderlies in a military hospital who, instead of getting depressed or suicidal about the horrors of war, are busy making tea.
But there is a worrying message in scenes like these, painted for the Sandham Memorial Chapel. Things do carry on regardless, and war comes to seem the norm.
Of course, war is the norm. We know that now. And since we keep our postmodern conflicts at arm’s length these days, we can drink tea all day long and not worry.
But Spencer celebrates the everyday pleasures of the battlefield and field hospital: having a shave, making jam sandwiches, getting resurrected. He called it “heaven in a hell of war”.
And if that makes him sound like a futurist, so be it. Were those car parts rather than tea urns, those excitable Italians might have also enjoyed this scene.
To his credit, Spencer prefers people to airplanes and guns. But he paints with mannered realism: great on observation, great on draftsmanship, and through it all a bit weird.
His monumental orderlies still look like rag dolls, stuffed into their clothes. There is no sense of sinew and bone, no wonder that war failed to horrify this curious artist.
The pictured scene is one of 14 predellas, 14 arches and an altarpiece from the chapel in Sandham which was purpose built for Spencer’s elaborate schema.
Restorers are currently getting the building ready to reopen for the centenary of WWI. It will no doubt become a focal point for self-conscious and sombre remembrance.
To look back at a four year tea party, rather than a prolonged massacre, may make it easier for us to deal with in 2014. But is it fair to those who served and fell? I think not.
Stanley Spencer: Heaven in a Hell of War can be seen at Pallant House Gallery, Chichester, until 15 June 2014.
Posted: February 12th, 2014 | Author: Mark Sheerin | Filed under: contemporary art, film installation | Tags: John Skoog, Karl Goran, Redoubt, Sweden, war art | No Comments »
As if they know what awaits them in adult life, children are drawn to castles, fortresses and hideaways. This was also perhaps the case for John Skoog.
The Swedish artist tells me he grew up 40 minutes from the mother of all imaginary dens: a bunker, made in response to WWII, which took one man some 30 years to build.
“I kept going back there and photographing it and trying to come up with, what kind of work? Since I was drawn to make a work about it, work with it,” says Skoog.
Now the giant concrete panic room stars in a 14 minute film at Towner in Eastbourne, also once the site of fortifications against a feared invasion by Napoleon.
As the camera tracks around the scarred facade, you can meditate on the post-war fears which drove farmhand Karl Göran to construct such a thing.
“It looks like some kind of weird, post-minimal macho american sculpture,” observes the artist. Indeed, it has a rugged and inhospitable texture. It menaces.
Göran was poor and reinforced the concrete with whatever came to hand. “He didn’t have any money so he took whatever he could get and put it into the drying cement.”
So now the film reveals a bike frame, various buckets and cans, even the springs from a bedstead. This is outsider architecture of the highest order.
Voiceovers to the brooding film relate anecdotes about Göran. Skoog discovered that his muse used a bicycle to bring all the material to the site. Facts like this “charge” the work.
These disembodied voiceovers drift in and out or the silence which emanates from the so-called house. So I ask why the artist opted not to anchor the piece with a narrator.
“For me, it is a very, very straight documentary,” he says with a laugh. “I think I am excited by films which perform what they are interested in or what they work with.”
Skoog complains about the voiceovers used to state the visibly obvious in documentaries made for TV: “I always think that’s kind of rude to the people watching”.
The location is animated with four long tracking shots, which feel like a single take. “In the last image you see where you started so it is really circling the house,” says the artist.
As a result it is a disorienting film. “With Göran’s house it is very hard to know what’s a wall and what’s a ceiling, what’s a floor. That’s maybe what gives this very physical presence.”
Remote and ominous as this Redoubt may be, Skoog finds something “really beautiful” about the fortress, which was never called into use to to shelter rural locals.
“It’s clear he had another effect,” says the artist. “He kind of questioned something of how one lives, how you live your life . . . how do your deal with fear?” How indeed.
This film can be seen at Towner Gallery, Eastbourne, until 6 April 2014. You can read a longer interview with this artist and a collaborator at Bad at Sports.
Posted: January 28th, 2014 | Author: Mark Sheerin | Filed under: contemporary art, painting, Uncategorized | Tags: comedy, Iran, LA, Nottingham Contemporary, satire, Tala Madani | No Comments »
At the risk of over analysing a good joke, it’s worth considering this painting by Tala Madani. It’s as funny as anything in her scurrilous UK survey in Nottingham.
The dude with the erect torch, well, in his mind he’s a sex god. He appears to think that red shaft is a part of his body. Or at least he’s happy for us to think so.
But what most amuses me are the two eager boffins. They come to him with an unfolded map, as if they realise they’re lost, or a blueprint, as if big plans are afoot.
There is nothing sexual about their enquiry at all, but they rely on a diffuse glow from a bigger man’s trousers. And don’t we all? Perhaps men are simply more prone to hero worship.
His actual sex remains a mystery. The torch is also a searchlight. But we cannot see what it has found. (Even if Madani is not averse to painting a cock or two when the occasion calls for it.)
Both the alpha type and the boffins are characters who crop up in other works here. And as has been pointed out before, the Iranian artist tends to focus on masculinity.
I wanted to link this to her cultural background. If it be difficult to paint like this in present day Iran, be assured that Madani has enjoyed the relative safety of LA since a young age.
But see how this blogger has also bustled up close to the light with a mental map. Like the boffins in this piece, I want to orientate myself and to fix a position for the artist.
Perhaps, and this is a long shot, the paunchy one is not a man at all. Perhaps she is a fleshy stand in for the female artist complete with fetish (torch) and disguise (beard).
Yet the work remains as unknowable as the contents of those tented trousers. The phallus is at once presence and absence at the heart of a biting satire, a drama of gendered darkness and light.
Tala Madani: Rear Projection can be seen at Nottingham Contemporary until 23rd March 2014.
Posted: January 23rd, 2014 | Author: Mark Sheerin | Filed under: contemporary art, sound art | Tags: Chris Watson, field recordings, Iain Pate, Norse myth, Odin, ravens | No Comments »
Two myths converge in an evocative piece by a sound recordist and a producer. The first myth concerns the most powerful Norse god and the second myth could concern you.
HRAFN will be staged in Kielder Forest, Northumberland, with support from the Forestry Commission. The artists reveal that Odin owned two pet ravens: Huginn and Muninn.
These two tame harbingers would sally forth at daybreak and observe goings on in the wider world, much like a pair of spy drones would do in this day and age.
Upon their return they would sit on Odin’s shoulders and tell him all that they had seen and heard. It intrigues me that such a major god was not already omniscient.
The ravens were web-like prosthetics. Huginn related to thought; Muninn to memory. Odin once said: “For Huginn I fear lest he return not home, but I am more anxious for Muninn”.
Chris Watson and Iain Pate have also been waiting for ravens. They’ve been waiting for the birds to return to roost on the site of a forest in the North East. The birds predate the trees.
The duo will take a group of art and nature lovers away from the car park, over a stone bridge portal and into the heart of the forest where they promise 2,000 of the birds.
But this is myth number two. Inspired perhaps by Loki, the god of mischief, the team are to engineer a 21st c. raven-based hack to achieve their desired effect.
And so, hidden speakers will pipe the birds’ cawing down from a canopy, from the vault of abundant conifers which have been compared to columns in the hall of Valhalla.
The birds will arrive with the darkness, a situation which has been restaged to disorienting effect at Jerwood Space, when the film comprising their proposal blacks out.
Now you wait, blind and anxious, until you hear the ravens arrive. There is a mood of conversation between these birds, both palpable and comforting.
You can even imagine, in the polyphonic soundscape, that you have a bird on either shoulder: one of them helping you think; one of them helping you remember.
For your benefit, I made the sound recording below. If you’re interested in the amazing work of Chris Watson, try this documentary about his work with David Attenborough.
This work together with pieces by Semiconductor, Amanda Loomes, Adam James and Juan Delgado can be seen in Jerwood Open Forest, Jerwood Space, London, until February 23.
BREAKING: Since writing, I’ve been told that the film was just a proposal. So congratulations to Chris and Ian who, along with Semiconductor, have won a commission from the Jerwood Open Forest initiative. Their project will now take place in September 2014.
Posted: January 20th, 2014 | Author: Mark Sheerin | Filed under: contemporary art, site specific art | No Comments »
When even the pawnbrokers are strapped for cash, you know we are in trouble. This sign, using poor materials, was a focal point in Sam Ayres’ recent show at CAC.
Other exhibits included a local church made from cardboard boxes and thatched with the pages of homeless-vendor magazine Big Issue. The slates had apparently been stolen.
Then there was the small matter of a masonic bib gaffer taped to the wall. Thus Ayres drew together a strange trinity of usury, protestantism and clandestine power.
The avowed influence here is Max Weber, whose protestant ethic thesis ties the rise in capitalism to the increase in private enterprise in 16th century Calvinist societies in Northern Europe.
Perhaps there is an ironic dimension to the church in question. It is only five or six years since the French Protestant Church of Brighton was sold to a property developer.
Even if, before the church was consecrated in 1888, the local mayor laid a foundation stone with a special trowel. One imagines special trowels are pretty rich in masonic symbolism.
Yet, it was never plain sailing for the early protestants of Brighton. In the 16th century a refugee from Liège, Deryck Carver, was burned at the stake for holding bible readings.
And whereas more than £1500 was drummed up for an eventual church, the Rev J. Gregory warned that this was “stirring the Lord’s fire with the devil’s poker”.
With the announcement today that just 85 people are as wealthy as the poorer half of the globe, we can see that the devil’s poker continues to be hard at work.
Of course, pawnbrokers are pretty non-denominational. Indeed, they’ve been around for longer than Christianity. So the inclusion of golden balls in this show is tantalising.
But the practice is said to have come to these shores with the Norman invasion. So like the church, they offer another French spin (Hastings is nearby) on a fine site-specific display.
Work Programme 28 opened (and closed) at Community Arts Centre, Brighton, on Saturday 18 January. Sorry if you missed it.
Posted: January 16th, 2014 | Author: Mark Sheerin | Filed under: contemporary art, installation art | No Comments »
A market in ancient Greece is distinguishable from the art market, but by less than you might think. In both you find the free circulation of ideas along with goods and services.
Like any auction house, the agora was a place of assembly. It had a political role as much as a commercial one and the etym contains the verbs for both “shop” and “speak in public”.
But the marketplace in late capitalism is nothing if not competitive. Perhaps that is why Charlie Billingham has staged a boat race in his bright and cheerful solo show at Ceri Hand.
The boat in shot is one of three. It is in the lead. And if the title is to be heeded, it is taking a left turn. Thus while you shop, Billingham can’t help speaking in public.
And the Greek connection is surely relevant. The sea where this boat sails is a limpid tapestry of a watercolour, made by Billingham during a stay in the Greek Islands.
It was machine stitched in Belgium. Trust a more Northern country to bring in a mercantile context. These are the waters which surround us in the current global economy.
This might be a good time to note the title of the show, Tender. Gentle, yes, but also with a sense of currency. Art can be tender in both senses.
Yet there is something jolly and bracing about this tacking and jibing, etc. The installations take their shape and dimensions from Laser Pico sailing dinghies. Ie; vessels of pleasure.
This motif suggests the optimism of a upcoming artist who enjoys his vocation, also a race of sorts. It results in a vibrant, sunny show in a grey month.
So is it fair to read a political intention into this riot of colour and marine sports? Given the situation in Greece these days, it is hard to get away from that bias.
Fans of austerity, keep heading right. Those who would rather stimulate the arts with funding, or even patronage of any kind, get on board.
Charlie Billingham: Tender is at Ceri Hand, London, until Jaunary 18 2013. Read a profile of the artist here; he has moved on quite a bit from his work in the Saatchi Gallery.
Posted: January 13th, 2014 | Author: Mark Sheerin | Filed under: Brighton, contemporary art, residencies, Uncategorized | No Comments »
“Unfortunately, this being East Germany/Gert patriotically volunteered to be sent on a labour/Beautification course of the countryside north-west of Dresden/And never seen again.” *
There is something punitive about Work Programme at the gallery known as CAC. At time of writing we’re on edition 28, and more than 27 souls have already pitched in and given us shows. Work is on the tin; artists are expected to labour. And this is a Programme, a temporal and spatial structure which must be followed: fill a Brighton gallery in just six days and make it good.
But what results! Each one has been a triumph of the impossible. Rarely have so many, produced so much, in so little time and with so little cash. Hard graft has led to, I would say, miracles. And to arrive at a launch is always to see a familiar place rendered strange. Yet the next conscript moves in on the very next day. A Francis Alÿs piece comes to mind: Sometimes Doing Something Leads to Nothing.
This important film, also called Paradox of Praxis, follows the Belgian artist as he pushes a block of ice around the streets of Mexico City. It takes an entire day for the sliding block of H2O to melt. So he is left with nothing (although of course he has a film). Work Programme also leads to nothing. But in both cases, nothing is not a failure but a good outcome.
Needless to say, in these austere times, Work Programme doesn’t pay. In this respect it is worse than sewing mail bags. But, if only for one week, free labour does allow artists to opt out from the dominant economy, with its hedge funds and its property ladders. It gives participants and audience, alike, access to another non-monetary system, that of the gift.
Anthropologists are not the only ones to have an interest in the gift-giving feast of potlatch. Found in North West Canada and some parts of the States, this competitive event is a non-lethal act of war. It asks which indigenous tribe can give away the most. Things get out of hand, buildings are burnt and possessions thrown in rivers.
Meanwhile back at CAC, shows open on saturday evening; on sunday they close. The spotlight lasts less than 24 hours. Work is removed, and often destroyed, before the weekend is out. This moves us away from the commodification of art and, in the subterranean space at CAC, we find a community of artists and friends surely tapping into something a little more primal.
And just as cells (correctional and/or monastic) are the most ambient of spaces. The architecture at 31 Queens Road are by now well charged with hard work, anxiety and at times, clearly, wild flights of inspiration. CAC might be the engine room of the Brighton art scene, making other gallery models look cumbersome.
But are they cumbersome, or merely humane? As demonstrated, this is a punishing model for art production. If it suggests a gulag or a camp, that would suit our provincial setting at the end of the A23. And by the way, a certain Mark E Smith (singer with The Fall) once described Brighton as a “cultural prison”**. To the best of my knowledge he has never been to Work Programme, but he would recognize it for what it is.
The first Work Programme of 2014 opens (and closes) on Saturday 18/01 at 7pm at Community Arts Centre, 31 Queens Road. The artist in residence is Sam Ayres.
*The Fall, Athlete Cured (from the 1988 album, The Frenz Experiment).
**Mark E Smith, Renegade (Penguin 2008), p.150
Posted: December 31st, 2013 | Author: Mark Sheerin | Filed under: aggregation, contemporary art | No Comments »
Tis (still, just) the season to be jolly and certainly the time of year for lazy reviews of the past 12 months. And should that review be in the form of a listicle, well all the merrier.
So here, in case you were wondering, are the most popular posts on criticismism in 2013:
- Number 5: this was a cross post with Culture24 so chances are it got more views than the 288 who hit this page on my blog: an interview with Martin Creed
- 4th place: 319 of you read, or gazed upon, my photodiary from Derry-Londonderry. I guess I should have pushed this some more during the Tuner Prize, but oh well.
- In 3: Having enjoyed his work in Brighton’s House Festival, it was a pleasure to visit the studio of David Wightman for an interview (373 hits)
- Second: was it a T-shirt? Was it a painting? Buff by Hannah Knox certainly pulled in some traffic. And so 463 visitors pondered similar questions
- Top, by a country mile: 1,160 art lovers and/or hip hop fans joined me for a critical appraisal of the lyrics of Picasso Baby by Jay Z.
Most strangely, there’s a wealth of content dating back to 2009 which is still performing well. My all time top post is something short I wrote about Remedios Varo in 2010.
What might I learn from this? How might I improve? Answers on the back of a used Xmas card please.