Roger Hiorn's 'Untitled'. Photograph courtesy of Hayward Touring Exhibitions.
Rating: ***
Le Feuvre and Morton have definitely done a sterling job of including all art forms, from sculpture and painting to video pieces, as well as encompassing a wide range of different styles and approaches. However, while the exhibition’s inclusion of such a wide array of art and artists means that each and every patron will find a collection of works they adore, it does also contain pieces that could be deemed of questionable merit.
Several works here undoubtedly stand out from the crowd. For example, Sarah Lucas’ scintillating ‘NUDS’, a group of stuffed nylon tights contorted into provocative poses, are as suggestive as they are ambiguous. And Christian Marclay’s video work ‘The Clock’ is as epic and mesmerising in its execution as in its creation, taking over 3,000 clips from various Hollywood films each displaying a watch or clock at some point. The work runs in real time between each timepiece for a full 24 hours, causing the narrative of the movie to constantly jolt and morph from clip to clip across the myriad cinematic snippets.
It would be impossible to discuss this exhibition without mentioning Roger Hiorn’s enigmatic ‘Untitled’ (see photo), the striking image used in the show’s promotional material, which consists of a park bench with a flame at one end being contemplated by a young naked man at the other. The piece is a wonderful exercise in anticipation and anticlimax, as the flame will appear at totally undetermined intervals and for indeterminate duration, and is not always accompanied by the nude young man. Indeed, I myself was unable to catch either boy or flame during my visit.
What lets the exhibition down is a curatorship that seems too vague and is ineffective in creating an obvious overarching agenda. Despite Le Feuvre and Morton’s attempts, the collection feels very much like the broad anthology of new art that it is. With the curators’ vision not quite gelling the hotchpotch of new works together, and with the standards of artistic approach flitting about so wildly, casual appraisers could probably give this exhibition a miss; not all pieces will enchant, and the lack of a clear curatorial narrative makes the whole affair feel hollow. However, the exhibition is a must for anyone deeply interested in contemporary art, and there are more than enough intriguing and innovative works to tantalise and inspire. Importantly, it also gives pointers to which up-and-coming and established talent should be watched over the next five years.
British Art Show 7: In the Days of the Comet is currently on display at the Hayward Gallery, London, SE1 8XX. Tickets are £8 (concessions from £5.50). To book tickets call 0844 875 0073 or visit www.southbankcentre.co.uk.
For information about events and further information about the exhibition, visit www.britishartshow.co.uk.
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