Chelsea MA show had an apocalyptic theme running through much of the work this year
(Sadly I didn’t have enough battery life to take too many images but have included a few before my phone ran out – no reflection on the artists I liked who didn’t get included!)
Yuma Tomiyasu exhibited an installation of interesting creeping paintings, with some more successful than others, though not sure why they were displayed on this abstract geometric background or the paintings positioned high up as it didn’t make them more successful or interesting & I’d have edited out a fair few..!
Maarten van den bos got The Stanley Picker Trust Bursary 2012-2013..reminded me of Bruce Ingram’s work (see Vitrine Gallery)
Ana Maria Millan’s work was interesting – on one screen various protagonists sing about a Volcano..
Great to see Katriona Beales work develop so much & her sensory overload installation had some nice touches..a trippy steel sci-fi structure with iPhones & iPods strung up displaying adverts pixellating, an escalator with no people on & gambling machines with no punters.. Cables loop over & under the steel to form a canopy to view from and within..on the main screen opposite eyes are prised open, laid over the top of each other, mounting up hysterically, which is actually the artists own eyes captured via a screen casting software recording her moving images around the screen..
You can feel the artists influence from her time spent in Tokyo – seduced & repelled, her reflection on the condition of the digital are illustrated here..we are literally enmeshed in an unseen network…Circles & triangles of Perspex hover expectantly over the visitor as if they are about to puncture the viewer..
I enjoyed a coffee and quick chat with Minwook An whose Van Gogh inspired installation was perfectly fitting for the sunshine..in his video piece which documents a fictional conversation between him Van Gogh he laments how he wanted to collaborate with other artists but ‘they seem to be too busy with their own work’
Adam de Boer’s work is technically very good & it’s no surprise that he’s apparantly been picked up by Riflemaker..
But I preferred the raw edges of Nicholas Dedics paintings of a fictional future ‘dim witted society’ trying to recreate their lost cultural heritage..
Nicholas with his work
Nicola Teegan’s work was interesting – an installation looking at the fetishising of modern technologies subverted into devotional objects..working with analogue sound helps her understand the bias of how technologies are deployed & the sci-fi, Ballard & Alistair Crowley references are all evident. It’s Nicola performing in the tin foil cape, holding the black circular object aloft like a giant medal for the sun. All her videos and objects get used in another way than in the exhibiting format & the sound is made with contact mics rubbing against her body. The drawing is a poster, a utopian emblem that the objects originate from. The weaving of the black fabric which the objects are made reference the use of analogue, a laborious, but important process in the work & reflects the hypnosis effect in the work and the zoning in and out the artist and viewer goes through..
Rosie Farell’s work was my favourite I think and I’ll be writing about it in a bit more detail for AN MAStars..
Rosie with her work…
I liked Alex Marzeta & Vanessa Page’s work (who usually work with the ASS Birmingham collective)…
I also liked these works for a wall or vitrine at home..!
And I’m still thinking about this installation by Hyesoo You:
At Camberwell C J Mahony was the stand out piece – a disconcerting, mind bending, labrynthine space built with no object to focus on but small offerings of slithers of light within the maze, which warp you back into a pathway of real time and space & inducing Alice through the looking glass curiosity, infused with mild panic..
Rosanna Greaves wind powered gramophone was cheering:
and James Green’s precarious tippy toeing feet were interesting:
At Wimbledon Angela Ho’s drawing machines were delicate, witty and pleasing
Karen David’s triangular seductive earthy offerings resting on neon Perspex looked polished
The show as a whole was well curated & thoughtfully installed – much more exciting to navigate than Camberwell & clear the artists had pursued a line of enquiry..
Tim Barnes autonomous sculptural machines did something and nothing & looked good for it
Judith Hayes work looked good but not sure what it meant!
Amelia Critchlows photos could appear in Wallpaper or Vogue, despite the political references they were seductively constructed
Laura Markers poetic installation of light refracting spectacle lenses weighted down by a plumbline on a chain, with fans and projected images made the resulting nostalgic installation look hauntingly familiar yet fresh
I liked Francesca Schgor’s work On Shame, which despite its cliched well trodden self revelatory subject matter (inviting people via email to reveal a moment they felt ashamed) was curated well, with just the right amount of texts to ensure you stayed with the piece, moving from one story to the next, glimpsing a portrait of the narrator and the artist and imagining their relationship too..all the emails were in Euro English which was also a nice reflection on the artist embedding herself in her city of study choice..
The cacophony of noise from placing the three video works next to each other meant we never truly heard all of the content the artist speaks in each video, where she stands unabashedly naked but not fully revealed in every sense..a reflection on our celebrity obsessed culture where revealing and seeing it all often means understanding it less & remaining disconnected..