Review of ‘'PLAY’' exhibition by BEARSPACE Gallery at the Cello Factory, Cornwall Road, Waterloo, London 1st
–- 4th November. open to the public, 12.30-5pm Hidden away, set back from the road and on a street where the numbers don’t follow numerically makes this exhibition quite hard to find initially. Nestled just off London’s south bank amidst the arts and cultural giants such as TATE, Hayward Gallery, BFI &etc… This latest offering from BEARSPACE gallery, found in their temporary one show only location at the Cello Factory in Waterloo is well worth hunting for. Why venture to visit the low key event of BEARSPACE against the latest sensations elsewhere? Quite simply, in the next ten years it will be these artists the crowds will be queuing to view at big name venues elsewhere. Occupying this show are fresh, young, exciting artists (as well as some more established) and undoubtedly there is something splendid about discovering such a special gem like this that is personally satisfying. On show is a collective of 17 artists, some collaborative, whose nationalities include Japanese, American, English and Scottish. These like minded contemporary artists have been brought together by the refreshingly energetic young curator Julia Alvarez. “BEARSPACE tries very much to reflect a certain zeitgeist or current philosophy” , Alvarez admits. The exhibition offers works by emerging artists and more established successful artists the like of Anya Gallacio and the Chapman Brothers. The overall collective ethos of the show seems to ring out as something akin to the European Dada of the early twentieth century, with an over crowded opening night to match. The teasing nature of these rebellious works form a spirit which may come to be seen as a New Wave Dada for the 21st century, the prospects of which invigorate imaginations and capture glimpses of life in the digitally mediated age we live. But is the underlying methodology of this exhibition as radical in its delivery as Alvarez sees it? The show is a sophisticated look at play and as Alvarez notes, “the artists that we show have past into adulthood and obviously they are able to look at play in a more subjective way, perhaps draw out child hood memories to look at culture and how play can often be related to darker activities and vulnerabilities”. No longer innocents and certainly not naive these artists reflect on youth. The artists’ here present works as homage to youthful play, nostalgically referencing childhood exuberance and teenage angst. The show is also ahs an element of play for the senses. The visual stimulation of Doug Fishbone’s video work and Jock Mooney’s sculptures, the delicacy of touch and feel is gifted by Bob and Roberta Smith’s wall installation, while the nuances of sound and hearing are tuned out by Neil Zakiewicz. As for the sense of taste on offer, the opening night saw the little artists (famous for creating quirky Lego reproductions of contemporary artists and their works) provided refreshing ice-lollies in the form of Marc Quinn’s ‘Blood Head’. Made of strawberry flavouring, some might consider them dis-tasteful but these tiny ice replicas on wooden sticks were an undeniably delicious taste to savour as accompaniment to sensually experiencing the whole show. But what of the smell? The lively space was odourless all except for an air of amusing excitement that scented the gallery arena. In interview Alvarez reveals “I do like to look at how humour is utilised in art, I think it’s quite an interesting discourse around it” Spanning two floors, the show is presented throughout three rooms of various art media. And with two staircases it is possible to endlessly run around the space like roaming through an adventure funhouse that shares a raucous order akin to the feel of a noisy school playground!
Four of the artists
in this playground like show are represented by BEARSPACE, and Toshie
Takeuchi is one of them. From the childhood nostalgic imagery evident
in Takeuchi’s work one can see exactly Alvarez’s reasoning
for her inclusion. Her works are often inhabited by imagery of children
in rabbit costumes in an eerie nightmarish scenario. The playful darkness
of her photographic manipulations brings to mind the strangeness of children’s
literature by Maurice Sendak that makes the work linger nostalgically
with childhood memories. The main structure within Takeuchi’s
panoramic piece ‘An endless Pumpkin Machine’ is a mirror image
of a twisted slide adventure playground hut that resonate a sinister touch.
The pumpkins rolling out from within the imposing chrome contraption housed
under the tall bare branched trees surrounding evokes an unnerving sight
the likes of a Hitchcock movie. And in the foreground is a child dressed
as a rabbit carrying a pumpkin which echoes the advent of Halloween. The
success of Takeuchi’s digital montage is how the images stage a
fine subtle play in creating a nostalgic and surreal dreamscape. In the upstairs back
room of the gallery Laura White’s bombarding video projection over
collage (‘Dynamo Bi-K’) brings together an entrancing interaction
of video and sculpture. Collage work is always fun to indulge in both
creating and viewing as it allows for a playful altering of things that
are pre-existing. An amalgamation of curious imagery flits across a large
three-dimensional collage array of magazine images and other average consumer
imagery. Courtesy of the Guardian newspaper free-be efforts we find among
White’s work animal stickers familiar to many a Guardian reader!
The delight of this piece is that it works as consumerist regurgitation,
overloaded and spat back. She is the phlegm flogger of the school yard
but not without cause. White is indisputably comparable to being the Hannah
Hoch of the digital video age. The play of her works lies in the relationship
between the image projected, the images projected onto and the combination
that the viewer receives. Years later
the precious metal gold caused mass exodus of pioneers into the west towards
the promissed land of California where they might become instantly wealthy.
I use gold in my work to represent the idea of glamour and wealth but
I am also interested in its consequence; a material such as gold may cause
enormous destruction. But it is not all visual play on offer in this show. The typical style of works by Bob and Roberta Smith (aka Patrick Brill) is to make written signs on pieces of found board. But here the Smith’s offering is the world of signs for those who are visually impaired. A found array of boards mounded to the wall of the gallery, as is expected of the Smith’s works, is to be seen without writing. That said though, this work is not to be seen at all, titled as ‘Painting for the Partially Sighted’ (2007) the work encourages to be read through the language of touch. Is this though a giant Braille message or just a cruel hoax? Which ever way one thinks of it this piece is more friendly to the visually impaired that anything else on offer. And why should the blind not be able to indulge in the pleasure of art?
Another artist whose
work you might desire to touch but probably shouldn’t is that of
Paul Caton. His offering in this show is comprised of cut out and collaged
flock backed card that is nostalgic of the 1950’s popular children’s
toy Fuzzy Felts. The Felts were designed to allow small children to create
colourful picturesque depictions of everyday scenes such as farms and
bustling towns using simple flocked backed cut out card shapes. Caton
has taken what is now seen as a sickeningly romanticized out dated views
of happy wholesome white English towns, suburban area and farm lands that
Fuzzy Felts portrayed and has instead created a collage work that embodies
nostalgia with new social trends, such as the social honour of the ASBO
culture. Peter Harrap exhibits
two paintings in this show that provoke issues of torturous existential
teenage notions that the World is without meaning. ‘When I have
fears’ a new large scaled painting of spray and oil on canvas illustrates
a bored looking teenager within a pseudo glam back drop of acid house
graffiti featuring a sad scrawl of self loathing that reads, ‘When
I have fears that I may cease to be’. These words appear to link
the teenager with the dead and bleeding squirrel in the lower right corner
of the composition. The two together prompt Sartre-esque existential questions
that although dull actually equivocate something of a truly bored teenager
experiencing suffering. The same can be seen and said for his other painting
here, ‘It fluttered and failed to breath’, portraying a melancholic
teenager sat upon a stool, knees curled up to the chest in a protective
gesture looking on, horrified at the side of a dying bird. Harrap’s
paintings though are the unsettling intruder among all these other artists.
His appearance here is unnecessary. Along with Takeuchi,
Caton and Zakiewicz appears Max Hymes, the fourth BEARSPACE artist representative
in this show. Hymes makes works of sculpture as well as works on paper.
For this collective he has chosen to offer a puzzling situation of items
that among them feature mirrors, the office cabinet and the wooden diamond
appendix shines a sumptuous pineapple at the installations pinnacle. Although
it resembles a pineapple, one can not be sure if it is a pineapple that
actually resides underneath the object’s exterior of brightly coloured
office stationary pins. And from the humorously pseudo-monumental positioning
of the object obscured by elements of routine banality (office pins) one
can begin to see what Hymes’ construction is really getting at.
The ephemera of the pineapple as a consumerist produce and a symbol of
trade and Western colonialism, the modern values that in this self obsessed
image conscious age remains in vanity, admiring one’s self in mirrors
has altered traditional values. Hymes’ work however is not to be
seen as traditionalist but it certainly is inoffensive to old values.
Perhaps overall it is best viewed as a comment on how played down the
colonialist empire of Britain has become. Certainly if this to be the
case, then Hymes’ placement of the mirrors seems to suggest the
viewer reconsider themselves in their reflections of what a garish pin
covered pineapple means to them? The biggest names
in the line up here are the extraordinarily well established pair whose
background needs no explaining. The Chapman Brothers are a modern day
Brothers Grimm and for this show they have opted to present a small scale
work entitled ‘My auntie went to see hell and all I got was this
lousy souvenir’. A title taking grace from a popular t-shirt slogan
culture and at the same time self referencing their other work, the monumental
‘Hell’. The Chapman’s work features miniature nude figures
that are depicted ascending a small mount to over throw a single figure
emblazed with a swastika logo. As the coup rally toward the distinct outsider
their bodies are colliding and morphing into masses of limbs. The fun
in this piece is its devilish charm, the tragic-humour of destruction
that inevitably befalls all who enter into organised systems. Though the
Chapman’s are largely deemed as offensive to millions, there is
nothing overly menacing about the work of two men who nostalgically romanticize
scenes of mutilation like two small boys drawing nasty caricatures of
their teachers! But it is the obvious social commentary that runs through
their works that makes them more that playful big kids and placing them
firmly as quintessentially brazen artists in their own self glorious right. Matt Franks’ large scale sculpture, ‘Bellicose Sentinel’ appears to dance in the light at the centre of the gallery space. With its inoffensive Styrofoam rigour the work is reminiscent of Dali and the two prong fork icon of male and female figures. Two tall forks face opposite one another, connected by the addition of a telescope cum giant spray can between the two forks. A whispering sense of domesticity lends itself to the work but the main context of this giant toy like sculpture is the relationship played by the two forks dancing, sexually, together with self awareness of identity and yet an uncertain trauma. Fittingly the work is as dark as others on show here.
The largest play of images within the show comes from the emerging talent of recent graduate Jock Mooney. The Scottish artist is a prolific sculpture and his latest project revealed here for the first time is entitled ‘Discontinued’. Mooney’s work is characterised by its humorous, anarchic replay of cultural aspects. This artistic deviant teases the values of mythology, religions, pop-culture and banalities into twisted garish toy-like sculptures. A glossy replica of the Virgin Mary sits atop this disposable mockumental monument whilst images of shitting dogs and worms collides with a transforming human cum tree character and a series of wreaths among other strange and random hand sculptured incarnations. Mooney announces on his website that the concerns of ‘Discontinued’ are “a mound of cardboard boxes littered with objects - part shrine, part stock room. Imagery inspired by video nasties, milagros (Spanish term for miracles) and warped toys nestle amongst souvenir-like tack, with a looming sense of current day 'horror'” . Discontinued is seen to be an unfinished work, suggested by the transitional significance of cardboard boxes as well as the title.
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