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Tuesday, 9 March 2010

Final Weeks of the Marcus Coates Show at Milton Keynes Gallery

Marcus Coates' new show Psychopomp, which open at Milton Keynes Gallery in January has been picked up several plaudits along the way with Richard Dorment of the Daily Telegraph saying that Coates is "one of the most intelligent and original artists in this country today." Not bad, eh? I first became aware of Coates during the Altermodern exhibition last year. In fact, he graced the cover of Issue 27, so I've been a fan for a while now. There's even a chance to meet Marcus this Thursday at the gallery during a "Meet the Artist" Session.

Psychopomp, has been the first survey of Marcus Coates’ work in a public gallery in the UK and will include early film pieces, sculpture, sound, costumes and photographs as well as new work.



Coates works in mysterious ways, often assuming the identity of an animal, such as a fox, goshawk or stoat, by simulating its appearance, enacting its habits and appropriating its language. In the film, Stoat (1999), for example, Coates totters around on ramshackle platforms, learning to recreate the animal’s bounding movements; in Goshawk (1999), a telephoto lens captures the artist as a rare bird perched precariously at the top of a tree; while in Finfolk (2003), the artist emerges from the North Sea spluttering a new dialect, as spoken by seals.

Coates has also trained as a shaman and the exhibition includes films of his rituals, where he achieves a trance-like state and communes with the animal kingdom to address social issues. Wearing an array of costumes such as a badger’s hide, a stuffed horse’s head, a blonde wig and a necklace of money (all of which will be on display), Coates has addressed issues including prostitution, regeneration and swine flu for communities worldwide and most recently in Israel, Japan and Switzerland.

"…I feel that my imagination can be put to good use socially, even politically."
Marcus Coates

Dawn Chorus (2007) is a major, multi-screen installation in which human voices re-create the chorus sung at dawn by birds, including a chaffinch, pheasant and yellowhammer. Together with wildlife sound recordist Geoff Sample, Coates recorded individual birds singing simultaneously on a single morning. Each was slowed down to a human pitch, so that people could be filmed mimicking these lower and slower sounds in their own natural habitats, such as a hotel, osteopath’s clinic or even a bath tub. The films were then accelerated until people twitter like birds and their voices precisely echo the original birdsong.

In Peregrine (1999) Coates painted the feathers of this powerful predator onto the carriage of an ordinary starling. This sculpture encapsulates the artist’s exploitation of art for its magical and liberating ability to transpose everyday objects and situations into unexpected, humorous and thought-provoking contexts.

The exhibition includes works spoken in numerous tongues as Coates ultimately addresses his audiences using the universal language of the imagination to highlight the spiritual and social potential of art.

Psychopomp closes on 4 April, so don't miss out! www.mk-g.org

NB: ‘Psychopomp’ means ‘the guide of souls’; they are creatures, spirits, angels, or deities in many religions whose responsibility is to escort newly-deceased souls to the afterlife, or to act as mediators between the unconscious and conscious realms. They have been associated in many cultures with animals, such as horses, dogs, crows and sparrows. In many cultures, the shaman fulfills the role of the psychopomp.

Monday, 8 March 2010

A Landmark Photographic Exhibition opens 10 March at Somerset House, London

The must-see photographic event for London 2010, A Positive View, will showcase an extraordinary range of photography on a truly international scale from the 20th and 21st century, under the Royal Patronage of Prince William supporting Crisis, the homelessness charity. A Positive View was first held in 1994 sponsored by Vogue and exhibited at Saatchi Gallery, while the second show was held in 2000 at the Atlantis Gallery in the Old Truman Brewery (London) and sponsored by Getty. The third edition of this fully curated, museum-scale photographic exhibition, to be held at Somerset House, will bring together more than 100 rare and signed vintage works across almost a century of photography; classic and contemporary works will cross a variety of genres, from still-life, fashion, landscape, portraiture and reportage.



Two outstanding masterpieces by Henri Cartier-Bresson will be on show; his renowned Seville (1933) and the magical Queen Charlotte’s Ball, London (1959). Other highlights will include a rare landscape by Elliot Erwitt, Wyoming Steam-Train Press, (1954); Friends of the Spanish Press (1968) by the winner of the 2007 Venice Biennale Golden Lion, Malick Sidibe, a haunting image from Robert Polidori’s New Orleans series (2006) and Corinne Day’s iconic and first-ever seen photograph of the supermodel Kate Moss, Kate (1990). These will be shown along with a stunning still life of Francis Bacon’s Studio (2001) from Perry Ogden’s 7 Reece Mews series and Wim Wenders’ classic Lounge Painting, Gila Bend, Arizona (1987).



For the first time, A Positive View will also feature work from contemporary artists whose creative practice incorporates photography, with geographically diverse representations from Korea, China, Japan and West Africa. With signature works by Seydou Keita, Yum Joongho, Bohn-Chang Koo and Weng Fen among others, A Positive View will provide an unusual and interesting opportunity to consider how practitioners beyond Europe and America are working with photography. In another departure, the 2010 edition of A Positive View will also include works by unknown photographers, all clients of the homelessness charity Crisis who have been studying photography at the Crisis Skylight, education, training and employment centres in London and Newcastle.



Nadim Samman, Exhibition Curator, commented: "As A Positive View benefits people on the margins of society, this exhibition brings together images of a notional ‘centre’ – social icons, home, the West – with peripheral visions. In some cases the display suggests their unsettling interdependence. At the same time, as with previous editions, A Positive View continues to showcase the achievements of leading photographers past and present."



Each of the works donated by the photographers, or their representatives and estates, have been included in the exhibition following a stringent selection process by A Positive View Patrons, who include Philippe Garner, International Head of Photographs at Christie’s, and Tim Jefferies, Director of Hamilton’s Gallery, with exhibition curator Nadim Samman.


Patron Philippe Garner said: “This exhibition is truly international in scope and represents the contemporary vitality and authority of the photographic medium across many genres. I have spent forty years as a champion of photography and I find it very rewarding to be part of such a stimulating project – one that invites us to celebrate the medium for so very worthwhile a cause.”

A 200-page fully-illustrated coffee-table book will be published in March, and will be available from Somerset House, Christie’s internationally, specialist art bookshops and online (£25, March 2010).

A Positive View opens on 10 March and continues until 5 April, with the charity auction of 100 of the most collectible works being held at Christie’s London on 15 April 2010 with 100% of the sales proceeds going to Crisis. For further information please visit www.apositiveview.com.

Image credits

Kate (c) Corinne Day (1990)
Wyoming, Steam-Train Press, (c) Elliott Erwitt,(1954)
Lounge Painting, Gila Bend, Arizona, (c)Wim Wenders, (1983)
Queen Charlotte's London, (c) Henri Cartier-Bresson,(1959)

Friday, 5 March 2010

Jenny Holzer at BALTIC opens today

A major new exhibition of work by Jenny Holzer opens today in Gateshead at BALTIC Centre for Contemporary Art. The exhibition, in one word, is stunning. The walk up to the BALTIC reveals the first insight into what is to come inside; the façade of the building emblazoned with “THE BEGINNING OF THE WAR WILL BE SECRET”.



Holzer’s use of text as art rises to a new political level as she takes classified documents from the US Government, made public under the Freedom of Information Act, and creates impressive LED sculptures displaying this information repeatedly in bright, flashing, almost blinding fashion. The documents in question range from emails between US Military officials, emails discussing the interest in oil as the cause of the conflict, and documents regarding prisoner-questioning methods. The sculptures themselves are breathtaking, filling the dimly lit white space with bright pink, green and amber, disappearing in to the walls in their various forms to give a sense of their endless nature. Whilst demanding your attention, it is clear that they are complex and often difficult to stand and read. While I think one of the major points to the work is to reveal once confidential material, just the fact that it is playing on a loop, always being released, unclassified and made public. A statement is always being made and cannot be stopped.



Also included is The Redaction Paintings Series, first exhibited in 2006. The series, taken from original official documents, depicts handprints belonging to US soldiers accused of crimes in Iraq. They have been defaced with heavy marks to erase the prints that differentiate them. By refusing to separate the convicted from the wrongly accused, Holzer demonstrates the failure of war to differentiate.

One of the earliest works of the exhibition, Lustmord Table (1994) is perhaps the most quietly unassuming, yet most disturbing of the show. Trigged by the conflict in former Yugoslavia, human bones laid out neatly on tables are collared with silver rings engraved with text. They illustrate directly the connection between physical and psychological consequences of conflict, war and trauma.



By moving to the upper floor, the exhibition takes a more personal turn into Holzer’s mind, with my personal favourite, Monument, a 20-foot-high LED sculpture, comprising of 22 semi-circular bands emblazoned with the artist’s Truisms and Inflammatory Essays, throwing out ironic sayings that always seem to relate to your own personal experiences. One of the highlights is a huge, floor-based sculpture, ideal for viewing from the top floor viewing platform – definitely recommended if you visit this show.

Holzer’s take on peace, conflict, love and longing and survival are perfectly captured throughout this exhibition, providing the viewer with the best of both worlds – incredibly stunning visuals, coupled with unsettlingly global and personal ideas.

Jenny Holzer is showing at BALTIC Centre for Contemporary Art from today (Friday 5 March) until Sunday 16 May. For more information, please see www.balticmill.com


Image credits:

HOLZER_Baltic_Press_10_72
JENNY HOLZER
MONUMENT(detail), 2008
22 double-sided, semi-circular electronic LED signs: 13 with red
and white diodes; 9 with red and blue diodes on front and blue and
white diodes on back
194.3 x 57.8 x 28.9 in.; 493.5 x 146.8 x 73.4 cm.
Installation: LIKE TRUTH, Diehl + Gallery One, Moscow, 2008
Text: Truisms, 1977–79; Inflammatory Essays, 1979–82
© [date of publication] Jenny Holzer, member Artists Rights Society
(ARS), NY.
Photo: Vassilij Gureev


HOLZER_Baltic_Press_09_72
JENNY HOLZER
Thorax, 2008
12 double-sided, curved electronic LED signs with white diodes on
front and red and blue diodes on back
104.25 x 58.31 x 37.125 in.; 264.79 x 148.1 x 94.29 cm.
Installation: Jenny Holzer, Fondation Beyeler, Riehen/Basel,
Switzerland, 2009
Text: U.S. government documents
© [date of publication] Jenny Holzer, member Artists Rights Society
(ARS), NY.
Photo: Lili Holzer-Glier


HOLZER_Baltic_Press_08_72
JENNY HOLZER
Thorax, 2008
12 double-sided, curved electronic LED signs with white diodes on
front and red and blue diodes on back
104.25 x 37.125 x 37.125 in.; 264.8 x 94.3 x 94.3 cm.
Installation: Jenny Holzer: PROTECT PROTECT, Museum of
Contemporary Art (MCA), Chicago, 2009
Text: U.S. government documents
© [date of publication] Jenny Holzer, member Artists Rights Society
(ARS), NY.
Photo: Attilio Maranzano

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