Andre Wallace

Tuesday, November 29, 2016

Heavy Fog on the Thames

Today 24th brings the news that there will be mist and fog surrounding Tate Modern next spring courtesy of a Japanese artist Fujiko Nakaya. The first BMW Tate Live exhibition, to be an annual event, opens in spring. Live installations will be created in and above the Tate Modern's underground Tanks space, which the gallery said will "provide visitors with a distinctive location in which to engage with new art in a new way". In short more of the same old same old state art trivia. It remains to be seen whether the fog will actually appear as it failed dismally to do when another artist attempted it for the Cultural Olympics at great public cost.

Then there is Waldemar Januszczak in this weeks 27/11 Sunday Times complaining about the new design Museum. It has moved from its old haunt in a Thames warehouse to the new Commonwealth Institute in Kensington and he says has lost its purpose on the way. He has a pop at traditional craft objects, inclusion, film, video, a robot called mimus, etc etc,  all of it predicated on the global village. He writes ;" thus refugee Republic is a digital Syrian refugee camp that can be explored interactively by gliding around it with a mouse - in which parallel reality can that ever seemed like a good idea." And this ; "more offensive still because it is a crime against reason is the taste for objects designed to look as if they are not designed at all. Thus species II from a creative grouping that produces furniture that is removed from the idea of comfort, is an armchair that looks like a mountain range." 
This actually points to something which is becoming increasingly common throughout the entire culture. From news that is complete lies to cyberattacks there is more and more evidence of projects that are the result of puerile crap thinking. Usually by so called university products to whom common sense is an alien concept and cannot judge the worth of any idea. 
Laura Cumming in the 27/11 Observer is upset by physical confrontation in the work of Monica Bonvicini at the Gateshead Baltic. She concludes her assessment of the exhibition with this accurate criticism; ," And this is tiresome, in the end. Bonvicini has made some staggering works – above all, the glass-and-steel ship that shivers on the fjord before Oslo Opera House, reprising Caspar David Friedrich’s painted shipwrecks – but scarcely any appear in this show. Here she is just asking for trouble throughout, until the affront starts to grate. The drill swings violently into action, the live wires crackle, the door slams repeatedly in your face." 
The art of insulting the viewers sensibility as it were!

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