Seeing this film, you’d want to allow a certain innocence to the terrorist gunmen who haunt our dreams here in the West. They too, it seems, are only doing their job.
In found audio, we hear onesuch maniacal footsoldier entertain doubts before taking a pair of lives. We watch another confess that he was on the mission to raise money for his dad.
The event under narration here is the 2008 siege of the Taj Mahal Palace Hotel in Mumbai. And so our unreliable account splices YouTube clips, CCTV, and fast turnaround Bollywood drama.
What came across in a recent panel discussion with the artists is that, during this operation, as in all of our own, there are Higher Ups calling the deadly shots. More than 30 were killed here.
The horror calls to mind a famous axiom from the pages of a Pynchon novel: “The innocence of the creatures is in inverse proportion to the immorality of the Master”. Quite.
But if you accept that terror is a military strategy, however asymmetric, then we can no more blame a radicalised gunman than we can censure a freedom loving drone pilot.
With the support of that CCTV footage and a big budget feature film about the mass killing, few works of contemporary art will bring you as close to mass killers. It was called “intimate”.
Mirza/Butler also bleach the screen with primary colour tints. The basic palette recalls night vision, heat capture, satellite view: a spectrum of surveillance, but also a flag of resistance.
Question: how can you unfold a narrative when the details proliferate so deep and wide through old and new media? You’d need the whale-wrestling gifts of a Great American Novelist.
Simple stories, on the other hand, mislead. And as we ignore the latest snuff movie from IS, we should remember this: the chances it could happen to us are just a 1 in 35 million.
That vital statistic came up in a discussion which left this yellow-bellied civilian with a lasting and surely accurate impression of “global civil war” and “almost ambient emnity”.
Well, the first casualty of war is truth, as we all know. So where are the stories you can really believe? They’re back on the fiction shelves, where it’s safe to live through them.
Karen Mirza & Brad Butler held a screening and a talk at Whitechapel Gallery on 19 Feb 2015. The show can be seen at the Gallery until 6 April 2015.
Do vast spaces bring forth big art, or does big art call for vast spaces? I ask because the current production at the South London outpost of White Cube is a monster of wholesale appropriation.
Artist Christian Marclay occupies all five galleries and includes a performance space, a screen-printing operation by Coriander Studios, along with the mobile vinyl press named and pictured.
These are not found objects, so much as found means of production. In fact it’s a found production line, with records pressed into unique sleeves available for a very egalitarian £25 each.
David Toop performed on the day criticismism visited. It was standing room only. Sight lines were at a premium. I can only imagine it was even busier for Thurston Moore and John Butcher.
But production was already underway to immortalise an earlier performance by Laurent Estoppey. As the first of 500 slabs of contemporary art acetate were racked up for sale. They were busy.
And never mind, that Marclay could have pressed up CDs or offered downloads. The Vinyl Factory has in recent years done a good trade in limited edition records for artists and artistes alike.
As a result, with all the engineering, and mixing, and ink on public display, the show at White Cube had the feeling of a utopian blueprint, or at least a utopian blue-chip space.
There was more to the show than this circular groove. Elsewhere were bold paintings and prints of the onomatopoeic sounds made by, among other things, gestural movements with paint.
These splatterings are not under discussion here. Nor is the collection of empty pint glasses, nor the drunk-looking sheet music framed behind bullseye glass. These were ‘just’ the works for sale.
Instead, non-collectors can leave this show with the music industry demystified. For a moment in time, we can all imagine how foolish we were to spend all those years pandering to The Man.
Very much by the by, Sir Nicholas Serota was spotted in Bermondsey at the opening weekend. But of course the art industry, no matter who buys or sponsors, is still squeaky clean.
“There’s a metaphor in there somewhere,” says Guardian critic Adrian Searle, as he contemplates this film. criticismism would like to pick up on those words: parrot fashion, naturally.
But that is what Glossolalia makes me think of: art criticism, mimicry and even plagiarism. To look at reviews for this pair of Portuguese artists certain phrases do the rounds.
Pataphysics, haunting, the limits of reason, the uncanny, slow-mo; the observations loop in and out of various publications. They make this show appear like a dazzling macaw stuck in a cage.
And yet precise words might not matter. Perhaps the babble alone should hold our attention. Glossolalia does after all cite the religious phenomena of speaking in tongues.
In which case, it is the rhythm to which we should attend. Searle has a rhythm in which adjectives pile up and sentences spill over, which is of course fine. It’s nothing if not distinctive.
However, the rhythm of this film Gusmão + Paiva is a magisterial throb, with a silent pounding effect as the caged bird takes flight. No, there is no sound. We take on trust, this parrot’s gift of speech.
There is always something out of control about the tongue of a psittacine. Whether overwhelmed or underwhelmed the same could be said of an art writer. We feel compelled to speak.
In many cases, what comes out is a reconfigured press release, or a half remembered curator’s talk, or even that notorious form of glossolalia known as International Art Speak.
One might also parrot other critics. Interview magazine reveals that the artists film at 3,000 frames per second to give a weirdly crisp result when slowed down to 24. Now I’ve revealed it too.
Seeing is believing, even if hearing cannot be. Our title suggests that if we could hear this pretty boy, he would bid us Good Morning. The bright feathers speak. The image is a vocal one.
While this show must have been a logistical headache, the extensive catalogue of objects in Back to the Fields points to an impossible dream. And it’s the most beautiful and sad dream: revolution.
This is not the first time Ewan has visited post-revolutionary France. You can read about her doomed experiment at Folkestone in 2011. That was to do with hours in the day; this, with days of the year.
So the current exhibition at Camden Arts Centre fills a single gallery space with 365 objects, each of which represents an annual date. My visit (31/01) was in the rainy month on the day of hellebore.
Hellebore, as one discovers, is a flower and occasional poison. In French it is Ellébore, so you learn something new every day. And that cliché is very much the case at this show.
Why name a day after a plant and why name a month after a meteorological phenomenon? Well, January, in the Gregorian calendar, happens to be named after Roman god Janus.
But the Jacobins wanted to get away from all that ol’ time religion. And so working in the shadow of the guillotine, the new regime abolished the twelve month year and brought in a rational ten.
The new calendar lasted for 13 years or 130 months. During which time the populous were able to meditate daily on everything from otters to grapes, from honey to mercury, via, say, an axe.
Trout and crayfish also feature in this uncompromising display. Yes, the otter den may be empty for the time being but on March 28 visitors can meet revolutionary animals in the gallery garden.
Republican time may have been intended to overthrow religion. But there is a sense of both zeal and observance about Ewan’s collection of objets, which devout onlookers will relate to.
The result is an installation with a touch of the epic. In a 21st century Britain run by Etonians, it points to an epic failure. But even epic failures have more potential than moderate degrees of success.
Back to the Fields can be seen at Camden Arts Centre until 29 March 2015
Welcome back to the new monthly survey of great shows from public institutions who’ve got their act together online. Cold outside, but it’s quite warm in the UK’s galleries.
James Bridle: Seamless Transitions, The Photographers’ Gallery, London, 6 Feb – 15 Apr. Using planning apps and first hand accounts, tech artist Bridle has visualised some of the buildings which unlucky immigrants see on their way out of the UK. The results appear cold, insidious and seductive.
Lynda Benglis, The Hepworth Wakefield, 6 Feb – 1 Jul. A major new retrospective, which can draw on a career of five decades. See why Benglis held her own in a famous century of American art dominated by men. This major show includes some 50 works.
Florian & Michael Quistrebert: Visions of Void, Dundee Contemporary Arts, 7 Feb – 22 Mar. Fire, shadows, hypnosis and intensity are all promised in Dundee. Immersive work like this won the French brothers a nomination for the 2014 Prix Marcel Duchamp and far out Genesis P. Orridge is a fan.
Cornelia Parker, The Whitworth, Manchester, 14 Feb – 31 May. A major show by Cornelia Parker coincides with a major gallery re-opening. A career retrospective, were it not for new and somewhat convoluted things going on with Blake drawings and local discovery graphene.
Goya: The Witches and Old Women Album, Courtauld Gallery, London, 26 Feb – 25 May. Thanks to his many prints, Goya crops up frequently in survey exhibitions. But here is a fairly novel chance to enjoy his presence centre stage, as a series of occult women power his dark imagination.
Since the days of King Cnut, few public figures can have had such an impossible relation with the sea. In the paintings of John Virtue the viewer finds themselves lost in the surf. But each work represents the most fleeting of moments, as waves break quicker than the hand can sketch.
And this artist’s hand makes hundreds of sketches. One of the focal points of his new exhibition at Towner is a cabinet some four metres long in which the drawings pile up, open book upon open book upon open book. In many cases you can see the blots made by incoming rain clouds.
That said, most of the works in the show are just as scaled-up as the cabinet. Three of the paintings here are almost six and a half metres long. All of the paintings are in black, white and a sparing grey. So many monumental works add up to a pretty overwhelming visual experience.
Virtue cuts a neat and compact figure, quite far removed from the wild man you might imagine was behind these epic nature paintings. Over a mineral water in the Eastbourne gallery he tells me more about his Sisyphean process and paradoxical practice.
The fleeting source material comes from the coast by his North Norfolk home. The artist lives near Blakeney Point, which, he tells me, is “very isolated, very bleak, very stormy in winter”. Once a week he walks the four and a quarter miles to and from the Point and will make hundreds of sketches.
But no matter how fast an experienced hand can draw, the sea is strangely cruel to artists. Virtue points out: “It changes faster than you speak. It changes all the time, not just from day to day but from second to second.” But the philosophical painter is quite content with this.
“It’s that quality of nothing and everything that’s so enthralling. It’s mesmeric,” he says. The elusive forms he calls a “perfect armature for developing all kinds of ideas, abstract ideas”. And indeed, if a hypothetical focus group saw these works out of the blue, they might conclude them to be abstract.
So, these wave studies are at the limits of figuration. “How can you do something topographical when you have people like Turner and Constable? That is a tradition that you have to work against,” he says. Landscape appears to be an alibi for Virtue rather than a rigid category.
At the same time he rejects the label of abstraction. “I’m not able to make it up,” he insists. “It just would not work, if I don’t have the compost, if I don’t have the drawings.” When asked about those heroic Ab Ex painters from the 20th century, Virtue points out they were often inspired by real world forms.
“I admire Pollock very much” says the artist, suggesting that between 1948 and 1950 the maverick US painter was working in a tradition of nature paintings. De Kooning, likewise, had a period during which he painted the landscapes near his Long Island home. But subject matter apart, Virtue is also very drawn to the physicality of painters like these, and Franz Kline.
“They seemed to be using the whole of their bodies on a great big scale, twice their body size,” he says, “And that can be used in what I’m doing because I work on a pretty big scale”.
Another influence on these monochromatic paintings is, perhaps unsurprisingly, zen calligraphy. Virtue has been drawn to this art form since early childhood, and remains fascinated by the difference between the tradition of the Western gaze and that of the Eastern glance.
“It’s about mobility,” he explains. “So I’m walking and drawing in a very high speed way. And yet I’m trying to make concrete the utterly ethereal, and I sense that in Zen calligraphy that’s exactly what they’re doing. Virtue marvels at the ability to make a single mark with up to nine changes of tone.
He sweeps a hand across the table to illustrate this and it becomes clear why gesture remains much more important to Virtue than verisimilitude. “There’s something about…making something with your hands,” he tells me. “I don’t respond to photography.”
Photography and film might appear the more effective vehicles for capturing the sea. But Virtue is emphatic in his rejection of the camera: “It’s a mechanical device that prints on a two dimensional surface and the abstract marks – if you blow them up – signify what!?”
So perhaps walking long distances and making hundreds of rapid sketches demand more from one than simply choosing a shutter speed. Virtue is trying to capture a peripatetic event just as much as those individual waves.
”The ideas that are thrown up are extremely difficult to grasp,” he says, “Let alone convey them to an imaginary audience”. And yet you have to say, as you plunge into this roiling show on the South Coast, John Virtue has got control of the waters and could, you imagine, if he wanted, turn back that tide.
John Virtue: The Sea is at Towner Gallery, Eastbourne until April 11 2015. Interview written for Culture24.
For many on the Left, the Spanish Civil War may have been a somewhat romantic affair. But it soon turned into an epic disappointment. It was a disappointment on the scale of WWII.
Pallant House in Chichester is currently showing the first exhibition devoted to British artists during the Iberian conflict. It makes a good case that 1936-1939 was a dry run for 1939-1945.
Had the Republicans prevailed it would at least have given the two other European Axis powers something to chew on. As things stood, it merely gave them aerial bombing practice.
It is well documented that the losing side, that of the Last Great Cause, found themselves in a three-way struggle for power between communists, anarchists and Trotskyites.
But that for me is what gives this painting by Quentin Bell a moving sense of the ideal. The May Day banners are red, and that for now is all you need to know.
They move in a tidal swell. They move away from the artist and his audience. It is as if their progress is towards something that no one can yet see. It could be a new dawn. It could be a disaster.
You can count less than 20 demonstrators, but the effect is of many more. This atmospheric painting throbs with crowd appeal. It appeals to our sense of strength in numbers.
Yet as in so many grand ventures, not everyone makes it out alive. Quentin’s brother Julian joined up as an ambulance driver and was killed just days after this painting was made.
And so a promising young poet, a son of a painter and a critic (Vanessa and Clive Bell) was killed mending potholes near Madrid. The horror of it gave his mother a breakdown.
So in that sense May Day Procession augur’s badly. Indeed the whole war augured ill. And yet the power of this image – and of the many banners and posters in the show – is undiminished.
There must be something about a crowd like this that Power and/or Money finds less and less able to tolerate. Look back at the future in 1937; there’s not a riot squad in sight.
Conscience and Conflict can be seen at Pallant House, Chichester, until 15 February 2015, then from 7 March to 7 June at the Laing Gallery, Newcastle.
Of course, buildings cannot have souls. We are cannot even install them in computers. But a new 3D film by six directors, which began life as a TV series, sets out to demonstrate the improbable.
You have to admit these are personable buildings. The roving cameras are accompanied by first person voiceovers which bring us into the action as effectively as our stereoscopic specs.
It should be noted, this film got a really bad review in the Guardian, where architecture and design critic Oliver Wainwright found it “sickly sweet . . . syrupy schmaltz”.
And while it is true that some of these buildings come off better than others, and that the results are an immersive advertisement for each given destination, there’s plenty of visual jouissance.
The star of the show, the leading architectural cast member, is Halden Prison in Norway. Here the film captures all the humanity you could ever hope for from one of these institutions.
Sun shines on the basketball court, marital quarters are tastefully decked out, the prison shop is well stocked, even the isolation cells look cool and, despite the dirty protest, somewhat inviting.
Wenders himself films the Berlin Philharmonic, a crazy structure based on overlapping pentagons. Yes, the praise is gushing. But this is a real life sonic cathedral, so what’s not to love?
Perhaps for those already familiar with, say, the National Library of Russia or the Salk Institute, this film is a bit of a yawn. Director Robert Redford maybe overdoes the time lapse photography.
Indeed, the thirty or so minutes spent in the company of the Centre Pompidou in Paris were none too interesting. Having spent a few days riding those escalators, something more was hoped for.
And yet the film which gave the least info was also the most dynamic. Director Margreth Olin chose to focus on the performers who use the Oslo Opera House, allowing the building itself to also dance.
At 165 minutes, this cathedral service is a lengthy one. It drags at times. But why should action movies have the monopoly on 3D? Architecture, no matter how sugar coated, is surely as exciting.
Cathedrals of Culture was screened at the Duke of York’s Picturehouse, Brighton, on 30 December 2014.
Happy New Year to readers everywhere. Here’s the first of a monthly round up of shows in (usually) public sector spaces around the UK. So, if you’re in Britain in January 2015, you won’t want to miss…
Grace Schwindt: Only a Free Individual Can Create a Free Society, Site Gallery, Sheffield, 10 Jan – 28 Feb. If your experience of taxi drivers is all Magic FM and reactionary politics, you’ll be pleasantly surprised here. Schwindt interviews a German taxi driver, and former 60s/70s radical, for a filmic 90 minute trip.
Rights of Nature: Art and Ecology in the Americas, Nottingham Contemporary, 24 Jan to 15 Mar. Twenty pan-American artists bear witness to an environmental crisis with displays themed around the Amazon, the Andes, the Arctic and the Gulf of Mexico. If Bolivia and Ecuador can give legal rights to Mother Nature, can we hope a wave of the future is building across the Atlantic?
Isabelle Cornaro: Paysage Avec Poussin/Témoins Oculaires, South London Gallery and Spike Island, Bristol, 24 Jan – 05 Apr/29 Mar. With training in the academic study of mannerism, Cornaro promises to demonstrate the way that art affects our perception. Resonant objects abound in a major installation at SLG and new works in the West Country. It’s a double header.
Self: Image and Identity, Turner Contemporary, Margate, 24 Jan – 10 May. As the gallery is already hinting, this exhibition could put the selfie phenomena in art historical perspective. Visitors can expect over 100 self-centred works, many from the National Portrait Gallery, from Sir Anthony van Dyck to Louise Bourgeois.
Ruth Ewan: Back to the Fields, Camden Arts Centre, London, 30 Jan – 29 Mar. In post-revolutionary France they enjoyed post-revolutionary time. London-based artist Ewan returns to her interest in the decimal clock and calendar with a major installation which brings together 365 seasonal objects with republican leanings.
Agree? Disagree? Seen something which criticismism has missed. Please feel free, as ever, to leave a comment.
The LED blinks on and off. We could be here a while. As deep history has shown, a rock like this can take its own sweet time to breathe forth life, or yawn and swallow us all.
Just whose hand might go to the remote to activate a 80kg lump of sandstone? Would it be a god, or an artist, or an artist who thinks they might be a god? Or even a reviewer.
A classical sculptor could make something of this proposition. From Michelangelo to Brancusi, the chisel and hammer have been switching on stones in the name of art.
But this is a digital rock, so that wouldn’t appear to work. We have enough animate objects in our homes. We no longer need figurines, no longer need expressive miracles.
The red glow of the pilot light is miracle enough. It appears to take its power from deep inside its core. No one plugged in this boulder; it is pure potential.
Mind you, Rock on Standby is already activated to some degree by a plinth, a photo, a blog post. Are not all inert works of art on standby in this familiar sense? A collector would certainly trigger it.
As possessors of eyes, etc., we come ready to push buttons. Until then, we might be on standby too. In fact, we are the ones who really come to life around this piece.
We cannot look away from this collision between two speeds: geological time and recent speeds like broadband and 4G. We can hardly get faster. This rock reminds us how far we’ve come.
It also hints at the speed of the rock on which we live: about 30km per second. The Earth too is on standby, primed for natural disaster, a likelihood we are also accelerating.
So nice to know the artist hasn’t lost his sense of humour. If you could ROFL in a gallery without being ejected, you just might. This heavy piece of work has the lightest of touches.