Philippe Parreno’s Anywhen is the new site-specific installation of the Hyundai Commission series for Tate Modern’s Turbine Hall. True to the his Relational Aesthetics background, the artist plays not only with the spatial dimension, but also with time, light, movement, sounds and the audience’s participation. Anywhen is a work in progress. Over the next six months the exhibition will change and evolve through collaborative events with other artists, algorithm-controlled sequences and patterns created by the growing of micro-organisms.
Temporal transience, may cause dislocation of self-regard.
Damage to biological and mechanical audio receptors, protection recommended. Envy the deaf.
Dangerous upon contact with containment.
Jerry Saltz’ lollipop. Spontaneously evolves critical elements necessary for combustion.
Induces involuntary heat and moisture, keep separate from super ego or fragile morals.
Indicates a broad spectrum with low penetration. Can be handled safely.
Senses overload creating bank account amnesia and pleasure unprincipled.
Overpowering effects on other reactants, too big to fail.
Stow away from foodstuffs and wash hands thoroughly.
Immediate transcendence by design.
May trigger revelations in excess of normative conceptions.
Multi-disciplinary stimulants and materials, may cause jouissance .
Excess of intermediary representations causing nausea, diarrhea and tiredness.
Volatile capital reacting with ego, converting artworks to Veblen goods.
Irreversibly damages accepted social conceits.
Causing and/or creating euphoric states.
Dangerous elements rendered domesticated.
Endangers the visual environment, may leave scratches on the retina. Protective eye-wear to be worn.
A weekend trip to Milton Keynes might not be the most obvious idea of cultural outing, but How to Construct a Time Machine, currently on view @ MK Gallery, makes it worth the effort. This exciting group show SEE PHOTOS explores different narratives and meanings of time in works of 26 contemporary artists, a.o. Manfred Mohr, Thomson & Craighead, Mark Wallinger, Raqs Media Collective and Kris Martin.
Quoted from the press release:
The show’s title is taken from a text by Alfred Jarry, written in direct response to H. G. Wells’ science fiction novel The Time Machine. Wells invented and popularised a distinctively modern, fictional concept of time travel, with the time machine as a vehicle that could be operated ‘selectively’. Jarry’s response crafted a pseudo-scientific fiction that presents the time machine and time travel as an instance of ‘the science of imaginary solutions’.
The interpretation of time in the presented artworks is broad and varied, from a cast of meteorite which has been travelling for several billion years, through alphabetically cut sci-fi film to a dazzling life-size model of Dr Who’s Tardis police box that disappears into the space-time continuum. Our favourite pieces are, of course, some of the most absurd ones:
The Time Machine in Alphabetical Order by Thomson & Craighead
A complete rendition of the 1960’s film version of H.G. Wells’ Novella re-edited by the artists into alphabetical order from beginning to end.
Time Capsule from 2011 (to be opened in 2061) by Raqs Media Collective
A time travel device, in form of an aluminium container with contents, which makes it possible for Raqs to claim its contemporaneity with the future. It also constitute an encryption of the state of play between the ways in which the Raqs inhabits the present, interprets the past and faces the future.
100 Years by Kris Martin
A sleek bronze sculpture, size of a football ball, that also acts as a time bomb. It is set by Martin to detonate in 2104.
Other participating artists include John Cage, Martin John Callanan, Jim Campbell, Edgar Cleijne and Ellen Gallagher, Mat Collishaw, Ruth Ewan, Tehching Hsieh, On Kawara, the Lumière Brothers, Chris Marker, Georges Méliès, Manfred Mohr, Melvin Moti, Nam June Paik, Katie Paterson, Elizabeth Price, Sun Ra, Meekyoung Shin, Maja Smrekar, The Otolith Group, Mark Wallinger and Catherine Yass.
The exhibition is curated by Dr Marquard Smith, Head of Doctoral Studies at the RCA. It runs at MK Gallery until 22 March.
Hi Stewart and congratulations on being one of the Paul Hamlyn Foundation Awards recipients. Your artistic career has a constant revolutionary element in it. The way you express it has changed over the years from pamphlets through performances to books. How do you think that people will protest in 10 years?
Protest is both a response to and an attempt to go beyond the conditions that capital imposes upon us, so protest in ten years time will reflect the increasing corporatisation of the world, something that has been going on for some time. One thing that people in the activist movement are talking about now that hasn’t really happened yet is going deep undercover in the corporate world and deploying the same tactics that undercover cops have been using against protesters. The difficulty most activists have with this is that the average CEO is so sexually unattractive that no one in the protest movement would want to sleep with any of them. But in about ten years time I think there will be plenty in the activist movement who will have got over that….
You were very active in the punk movement. Is punk dead? Did postmodernism kill it?
Punk killed itself. Real punks knew punk rock sucked and preferred disco. I gave up on punk at the end of the 1970s. The punk scene in London as far as it still exists seems to be made up mainly of people who’ve come here from places like Italy and Spain. Punk obviously makes more sense in somewhere like the Basque Country than in London. I don’t think there is an opposition between the punk scene in London in the late-seventies and postmodernism, London punk of that era was a post-modern bricolage of previous youth cultures.
Has austerity affected your living conditions and by extension your work?
I’ve been living under self-imposed austerity since the late-seventies by doing what I wanted to do rather than getting a regular job… so while I notice huge social differences between pre and post-crash times, it doesn’t particularly affect me. However my one luxury is my membership of the local authority gym and the local council changed the charity providing this service in order to save money. So I do notice that the new company refitted what had been a perfectly good gym with low-end machines and a really poor selection of free weights. So I have to improvise quite a lot to make up for the loss of the better equipment – like summit trainers – available to me before.
This does potentially effect my live art routines since they require me to be fit enough to stand on my head and do various other physical ‘jerks’*. If I can figure out a way to reorganise my flat to fit them in, then a couple of item I’ll buy with the award money are a decent barbell, to go with the adjustable dumbbell and kettlebell I have at home, and a TRX suspension system. And if I can’t reorganise my flat to fit in a barbell and TRX (and it will be tricky) then I’ll just have to use some of the award money to pay for membership of a swanky private gym and work out alongside the suits rather than my working class neighbours!
In an interview with Oleksiy Kuzmenko from two years ago you claimed that “The secret of not doing other jobs if you want to write or make films is to expect to make very little money and learn to live on a really low income. That way when you do make decent money from time to time you can really have fun with it.” So what kind of fun – apart from the barbell and TRX – are you going to have with your £50K?
What I find the most fun and gives me the most pleasure is surprising people. So now I’ve got the dosh to buy some time, I’m very seriously thinking about devoting a lot of it to painting! I don’t think anyone will be expecting me to exhibit huge abstract canvases!
Thanks and good luck pulling rabbits out of hats!
* here’s a link to a video of a performance that Stewart did in Glasgow a few weeks ago, which clearly demonstrates why he needs a decent gym and why the austerity effect on local council amenities negatively effects his artistic output.
Stewart Home (radically inauthentic since 1962) is an author of, a.o. 69 Things to Do with a Dead Princess, Down and Out in Shoreditch and Hoxton and the recent Mandy, Charlie & Mary-Jane: A Novel (Success and Failure) that uses pulp and avant-garde tropes to parody conventional literature. Follow him through his blog Stewart Home Society or on Twitter.
To take a break from October’s Frieze et al. power structures, we’ve focused on young art and galleries this time. There’s a detailed list of interesting galleries to check out at the end of the post and our top 5 of this month are: Marcin Dudek @ Edel Assanti, Open Heart Surgery @ The Moving Museum, Danh Vo @ Peer,
Oscar Murillo @ South London Gallery and Sound Matters @ Stanley Picker.
Marcin Dudek @ Edel Assanti | runs till 19 Dec
Brutality meets elegance in Marcin Dudek‘s transformation of the gallery, that refers as much to his violent hooligan past as to his interest in craftsmanship, different materials and their aesthetics. And with a good shot of humor, too. Punch to the Sky loosely follows Marcin’s earlier shows Too Close for Comfort and Wild. Here are some photos from his opening performance and an interview is coming soon.
Edel Assanti // Press Release
Open Heart Surgery @ The Moving Museum | runs till 13 Dec
Second project of The Moving Museum art platform – an initiative of Aya Mousawi and Simon Sakha – Open Heart Surgery presents some of the most interesting young artists from London (see our photos) in the derelict spaces of 180 The Strand. Exciting art in an exciting environment. More info to follow.
The Moving Museum // Press Release
Danh Vo @ Peer | runs till 7 Dec
Vietnamese/Danish artist Danh Vo shows part his culturally–loaded We the People project: a full–scale copper replica of the Statue of Liberty, divided into 400 fractions and scattered around the world in museums, galleries, collections etc. A symbol of freedom becoming a symbol of sharing/collectiveness/refugee existence etc. Peer has 26 pieces on display, maybe not the most exciting ones of the lot (except for the ear shape), but imagine what they’re part of!
Peer // Press Release
Oscar Murillo @ South London Gallery | runs till 1 Dec
The 27 years’ old Murillo was probably the most discussed young artist during Frieze, his painting prices rising astronomically in less two years. But there’s little of this stardom present in If i was to draw a line, this journey started approximately 400km north of the equator, his first major solo in the UK. Junk brought from his studio, paintings on the floor that you can walk on and thus participate in the creative process, Colombian food labels, various recycled materials etc, the place is more a workshop than a gallery. If you were quick, you could have purchased one of the 99 lottery tickets (original screen prints, also on display) for £2.500 and wait your luck. And guess who was the luckiest? Oh, no….
South London Gallery // Press Release
Sound Matters: Exploring Sound Through Forms @ Stanley Picker | runs till 23 Nov
We haven’t actually seen this show ourselves yet, but it comes highly recommended by We Make Money not Art, so we’re pretty confident it’s worth the journey to those
dangerous and unexplored territories beyond zone 5. Curated by Karen Gaskill, it combines contemporary craft with sound art in works of 7 artists and 2 art collectives.
Stanley Picker Gallery // Press Release
Other young London galleries and non-profit art spaces to follow:
Carlos/Ishikawa (here’s where should’ve bought that Murillo couple of years ago)
All Visual Arts
Wilson Williams Gallery
Tomorrow (Sunday) is the last day of BRUTAL, a group show organized by the Lazarides gallery inside an abandoned office building at 180 The Strand. The quality of the exhibited artworks might sometimes fluctuate, but one thing is sure: their staging and the atmosphere of the decrepit underground spaces make for a striking experience. Plus the Cleon Peterson‘s mural is already alone worth the journey!
Photos from the show
After a third edition inside the Old Vic Tunnels, Lazarides has selected a new, but equally atmospheric, off-site location for his yearly group show/event. Throughout the vast surfaces of a ground and a subterranean levels of what presumably used to be offices once, 16 artists of the gallery show their new pieces. Some were created directly for this venue, such as the previously mentioned 10m long black and white mural by Cleon Peterson.
The title of the show, BRUTAL, is reflected in all the works, whether through their topic, choice of material or their execution. Apart from Peterson, we particularly liked the glass panels of Ben Woodeson, that looked vicious when imagining how they would decapitate you if they fell, but fragile and beautiful at the same time. Mark Jenkins‘ tape sculptures are always funny, surprising and worked very well in their dark corner and Todd James‘ animation was fun too. The exhibition is also extremely photogenic (our photos are a proof). It’s definitely worth checking this show out, especially if you like street art.
If you go, don’t forget to drop next door, in the temporary HQ of The Moving Museum to see their exhibition Open Heart Surgery, which is full of fresh and exciting young art. We’ll talk about it in detail in one of our next posts.
Nicoline van Harskamp (b.1975, lives and works in Amsterdam) will be the next artist to perform @ Tate’s BMW Live Performance Room. You can watch her piece English Forecast next Thursday, September 19th, on youtube.com/user/tate/tatelive. So put on your headphones and tune in at 8pm GMT (9pm on mainland Europe, 3pm in NY,
11pm in Russia etc). Live comments are shared through tate.org.uk/bmwtatelive.
A team of actors, with different mother tongues, will perform this language, and online audiences are invited to participate by repeating what they hear. Apparently this can be quite a linguistic exercise, as it will involve using the full range of consonants and vowels of the International Phonetic Alphabet. Try your luck and see what chance you stand to have your voice heard and understood in the years to come.
About BMW Tate Live Performance Room:
BMW Tate Live is an innovative art project that focuses on curating in digital space. Commissioned performances take place at Tate Modern, but can be only viewed online: either in real time, with a possibility of direct interaction, or later on at YouTube. Previous performances featured artists Jérôme Bel, Pablo Bronstein, Emily Roysdon, Harrell Fletcher, Joan Jonas and Liu Ding and Meiro Koizumi. BMW Tate Live performances are being curated by Catherine Wood (Tate’s curator of Contemporary Art and Performance), assisted by Capucine Perrot.
Follow BMW Tate Live on Twitter: @TateLive #BMWTateLive
Roundup of our favorites from Giardini: we loved Jeremy Deller‘s English Magic
of murals, banners, crashed Range Rovers, Neolithic hand axes and other delights (Britain), Anri Sala‘s film trilogy on Maurice Ravel’s Concerto in D for the Left
Hand (FR), Berlinde De Bruyckere‘s Cripplewood installation (B) and Gilad Ratman’s Workshop about a fictional underground journey from Israel to Venice (IL).
(Our photos from Giardini are here.)
English Magic | Jeremy Deller @ the British Pavilion
Deller is basically taking a piss out of everything that bothers him, in UK politics and beyond. Starting with a British Royal family member getting away with an alleged crime, through Abramovich’s dubiously acquired wealth and a substantial dose of arrogance, UK tax havens, war scandals, good ol’ escapism etc. Combined with fake prehistoric paraphenalia and an English tearoom. About this last one he says:
“I wasn’t really sure what to do with this room, so I thought it might be nice if people could relax and have some tea.” Easily most fun we had at the Biennale.
Ravel Ravel Unravel | Anri Sala @ the French Pavilion
Albanian-born Anri Sala transformed the French pavilion (technically the German one, as FR & D swapped to make a statement) into a grandiose concert hall/theatre with 3 cinema stages. In the centre room, two simultaneously projected films show hands of pianists playing Ravel’s 1930’s composition Concerto in D for the Left Hand, in an impression of a musical race. Two other films are shown in adjacent rooms, showing a DJ mixing the performances, and uniting them into a single piece.
Cripplewood | Berlinde De Bruyckere @ the Belgian Pavilion
De Bruyckere worked closely with writer J.M. Coetzee (who together with Philippe Van Cauteren curated the pavilion), to create a stunningly beautiful, poetic and touching installation of a “wounded” tree trunk lying inside a darkened room. It looks great on photos and even better in real.
The Workshop | Gilad Ratman @ the Israeli Pavilion
Group of “cavemen” led by Ratman digs an underground tunnel from Israel to Venice, resurfacing right in the middle of the Israeli Pavilion. Once there, they sculpt their portraits from imported Israeli clay. The displayed movies document fragments from this absurd fictive journey amongst series of clay portraits mounted on poles.
Don’t miss also Sarah Sze‘s Triple Point @ the US Pavilion; Terike Haapoja @ the Nordic Pavilion; Jesper Just‘s Intercourses (Denmark); and Konrad Smolenski‘s Everything Was Forever, Until It Was No More (Poland).
Outside of Giardini, go see the unusual and exciting curatorial setup by Raimundas Malasauskas for Lithuania & Cyprus in a huge underground gym located near Arsenale, and Alfredo Jaar‘s appearing/disappearing model of Giardini @ the Chilean Pavilion in Arsenale. Angola won the Biennale’s Golden Lion with Edson Chagas‘ Luanda, Encyclopedic City photo installation, but especially the fact that it’s staged at the amazing Palazzo Cini Foundation makes it a must-see destination.
Here’s our pick of 5 great shows on display right now; many are closing this month, so make sure not to miss them: Haroon Mirza @ Lisson Gallery (52 Bell Str), Rodney Graham @ Lisson Gallery (29 Bell Str), Deutsche Borse Photography Prize 2013 @ The Photographers’ Gallery, Thomson & Craighead @ Carroll/Fletcher and Jac Leirner @ White Cube (Mason’s Yard). Scroll down for more info about each of them.
Haroon Mirza @ Lisson Gallery | runs till 29 June
Haroon Mirza’s (b.1977) work focuses on music, organized noise and instability. You can see – and hear – several of his noise-producing machines in action here, and witness a transformation of an art gallery into an immersive sound chamber.
Lisson Gallery // Press release
Rodney Graham @ Lisson Gallery | runs till 29 June
Rodney Graham’s (b.1949) large-scale photographs are often based on historical paintings with slightly changed context. The main characters (impresonated by the artist himself) are past their heydays, reaching midlife crisis and contemplating their former aspirations. The overall feeling is however not that of bitterness but rather that of an acceptance: life goes on.
Lisson Gallery // Press release
Deutsche Borse Photography Prize 2013 @ The Photographers’ Gallery | runs till 30 June
Exhibition of 4 artists shortlisted for the annual prize. Head straight to 4th floor to see Broomberg & Chanarin’s amazing project War Primer 2 (more in our previous post).
The Photographers’ Gallery // About the prize
Thomson & Craighead @ Carroll/Fletcher | runs till 7 July
Thomson & Craighead‘s Never Odd or Even is full of digital/Internet references: spam emails to be sang karaoke-style; wall of tweets; Space Invaders meet Foucault; live digital portrait of Tim Berners-Lee etc. More in an upcoming post.
Carroll/Fletcher // Press release
Jac Leirner @ White Cube | runs till 6 July
Bet that after visiting Hardware Silk, Jac Leirner’s (*1961) first solo show in London, you’ll never look at rullers, curtain rings and steel cabling in the same way. The aesthetic potential of a home toolbox boosted ad infinitum.
White Cube // Press release
1+2. Haroon Mirza via Lisson Gallery
3+4. Jac Leirner (detail) via White Cube
5+6. Thomson & Craighead
7. Broomberg & Chanarin via The Photographers’ Gallery
8. Rodney Graham (detail)
Last chance to visit Sound Spill, a group exhibition curated by Thom O’Nions and Richard Sides for the Zabludowicz Collection and part of their ongoing project with artist Haroon Mirza. The setting of Sound Spill is quite unique: on two separate, and otherwise vacant, floors of an iconic New York skyscraper close to Times Square, with stunning views and serving as a perfect background for the artworks and the sound installations. See for yourself.
The project sets out to examine how sound inhabits an exhibition space through either existing works of artists from the Zabludowicz collection or through specially commissioned, new pieces.
The 7th floor has some great video/sound pieces from, a.o. Fischli & Weiss, Michael Bell-Smith, Cory Archangel on Oliver Payne. But the most spectacular part of the show is, in our opinion, on the33rd floor, presenting project called Volumes for Sound. Here, artists Melissa Dubbin & Aaron S Davidson were commissioned to create a set of 8 speaker sculptures, with each of these playing a new multichannel sound from a different sound artist (Ben Cain, Lesley Flanigan, Lucky Dragons, Lorenzo Senni etc.) and providing for an unforgettable experience.
The show is opened daily from 12–6pm until Saturday this week and you should rsvp in advance (for more info see the Zabludowicz website).
Not to miss!
At long last the eternally oppressed rich white European male has had the courage to speak the truth to the feminazi art establishment and bravely state “Women don’t paint very well. It’s a fact.” Who of us XY chromosome possessing superior humans has not wanted to shout out to our dominating Ruling Woman Class “No, that’s all wrong, the face looks stupid, perspective is off, colours are poor and the hands are like a bunch of bananas”. But we all know the dead hand of Matriarchy that would descend upon us, ruining our careers with their centuries of chauvinist hegemony!
As we know, Georg has also invoked the holy of holies, the market – “they simply don’t pass the market test, the value test”, adding: “As always, the market is right.”
What possible argument can the evil can’t draw-for-toffee women answer to that, eh? None! What a succinct and 100% immutably correct argument Georgie-boy has made there. I think the time has come, even though “they still constitute the majority of students in the art academies,” for us to unite and speak the truth to this corrupt establishment: know you place women, it’s in front of the canvas being naked and acceding to our every sexual whim.
As we know, since time immemorial women have dominated all fields of human endeavour, even corrupting the scientific method so that they had convinced the world they are comparably human. But Georg has finally broken that glass ceiling of discourse and pointed out how bad all women are at art. Clearly the time has come to re-examine the very fundamentals of biology and realise women are not equal in any way to men, nor should they be treated as such. That truly, it is better to acknowledge the truth – they are somewhere between slightly slow children and hairless apes, suitable only for a subservient role to the masters of art, the MALE masters of art.
Now of course you’ll hear all sorts of counter-arguments to the brave Baselitz, some even invoking evidence, facts, reason and intelligence, but these are just trick concepts devised by deceptive and sneaky females in order to cover up their obvious lack of artistic ability. Beware! I suspect even our very own Intelligensius Anarchus, a creature of the female persuasion, shall attempt to contradict the heroic and correct Georg Baselitz, but the game’s up ladies, put down your pens, brushes, graphic pads and get back to that kitchen from whence you should have never ventured in the first place. There is artwork to be done, and it’s MEN’S WORK!
Thanks to Josh Jones from Open Culture for remembering it has been over 20 years that Nirvana’s “Smells Like Teen Spirit” aired for the first time on MTV’s 120 Minutes. The article is great as it show an early live performance and the actual video clip that kicked off the bands highway to fame and destruction.
Wishmountain – one of many monikers of British electronic musician Matthew Herbert – has released a new album titled Tesco, crafted entirely from samples made by manipulating 8 best selling brands (a.o. coffee, toilet paper, energy drink, crisps etc) in a uk supermarket. Tracklist titles: Lucozade, Nescafe, Hovis and Kingsmill Warburton, Fruit Shoot, Dairy milk, Walkers, Andrex, Coke. The whole project apparently took just 4 days to complete, an efficiency one needs to salute!
Herbert said: “After all the questioning, controversy, head scratching, mud, straw and blood of the ONE PIG record, I felt like making some old-fashioned dance music. I ended up making this record in 4 days, a spontaneous crunch around the modern supermarket – a place of fantasy, trickery, wonder and horror.”
There’s plenty of great events you can visit this week as part of the London Design Festival. To help you pick, here’s a selection by Steve Rose from The Guardian and by Ben Evans, the Festival’s director. One event we wouldn’t want to miss will take place this weekend @ V&A Museum. Titled The Algae Opera, it is a collaborative project of the After Agri collective (Michiko Nitta and Michael Burton) with a mezzo-soprano Louise Ashcroft, in which the opera singer gets transformed with biotechnology to form a unique relationship with algae.
Algae, a photosynthetic plant-like organism will feed on the carbon dioxide in the singer’s breathe. As an important future food source, the singer’s algae can also be eaten – so alongside listening to her music, the audience can also taste her song. To increase the growth of the algae the body of the singer is trained to use her and large lung capacity to produce the highest quality algae-product. The composition of the song and the singer’s vocal technique are redesigned to specifically produce algae and enrich its taste. To do this, the composer and singer use the new science of sonic enhancement of food where different pitches and frequencies make food taste either bitter or sweet.
The Algae Opera is a part of Digital Design Weekend @ V&A. Performances will take place at 13.00, 14.00, 15.00 and 16.00 on the 22nd & 23rd September.
HBO TV series Game of Thrones has rapidly grown into a cult status ever since its appearance on TV last year. The story is based on A Song of Ice and Fire, a series of fantasy novels by GRRM, one of America’s most influential authors.
But this post is dedicated to Andreas Kompositkrut: a die–hard Commodore 64 fan who remixed the opening tune of Game of Thrones and made it sound as if we had just waited 20 minutes in front of our good old brown computer box and datasette to play… a Game of Thrones. Half Man! Half Man!
Laibach will present a unique show at Tate Modern’s Turbine Hall on Saturday 14 April 2012. The Monumental Retro-avant-garde will feature both their early music and their latest tracks, the first part of the concert focusing on a period between 1980– 1983, the second relating to 1983 – 87 and the third associated with their IRON SKY film soundtrack, with tracks composed for the movie and music from the film teasers. Finally, the last part will present the WAT album and recent works.
And now the most important: ticket link! You can thanks us on the 14th!