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