Multiple venues, 14 January – 11 February 2017
Oscar Murillo, Human Resources, 2016. Image Courtesy Carlos Ishikawa and the artist.
A circle of blank, wide-eyed faces stares at you, a wooden seating arena filling up the Carlos Ishikawa gallery peopled with puffy, scarecrow-like bodies. They have round, papier-mâché heads painted shades of brown and black with felt hair and eyebrows, most of them outfitted with rubber boots and factory uniforms. The living people sitting on the structure blended in, adding to a sense of unease, then one burly man sauntered in and began to sing in what sounded like a medley of love songs in Spanish. It was as if we had temporarily tuned into a faraway radio station. After a few minutes, he finished, muttered a small thank you, and left. Oscar Murillo’s installation Human Resources, 2016, is one of the highlights of ‘Condo’, if only simply because it is the biggest. As per the usual for the ‘socially engaged’ side of Murillo’s practice when he’s not painting, these figures have supposedly been made by people in his home town in Colombia, as apparent representations of themselves. At the centre of the room was a miniature Aztec ziggurat encircled by a crudely assembled roller coaster. ‘Azteca Ride’, letters on the side of Japanese artist Yutaka Sone’s untitled 2016 sculpture proclaim (brought by Tommy Simoens gallery of Antwerp); here, we were in a sort of South American amusement park, entertained by exotic workers and ancient history. The pairing of works might have been intended as a critique to such fetishisations, but it felt like more a joke at the artists’ expense. Continue reading
Hardcover, published by LUX, 2016
The title of Ian White’s posthumous collection of writing brings to mind the comments and instructions posted on social media since the American election last November, accompanied by lists and databases detailing which civil rights organisations to support and which politicians to hassle. The ‘information’ in this book, edited by Mike Sperlinger, White’s former colleague at LUX, isn’t so directly practical as the directive to ‘mobilise’ might suggest, but it does detail its author’s working and thinking methods, with texts on video, film and moving image that are concise, sometimes sharp, politically minded and always self-conscious. Continue reading
Locky Morris, The Drop, 2007/16. Image courtesy the artist, Naughton Gallery. Photograph by Simon Mills.
Strewn about the hallway is a trail of debris; lights, brooms, boxes, and other obstacles in a semi-organised sprawl. It’s like someone tried making a shop out of the bits in their attic, sifting through the junk, arranging it into small, improvised displays. The skeleton of a mostly empty postcard stand is propped in one corner, while a clear container with the inevitable, unsolvable tangle of electric wires sits in another. Propped up on one stand is a brown and grey photograph; what looks like a scuffed-up, dirty floor, with a hand truck and some rubbish scattered around. A metal grille runs across the image, with a thick, dull, chocolate-coloured sludge underneath it. Behind the propped-up photo is an odd set-up, with a work light dangling from a sideways soap dispenser – even more improbably, with a pair of sunglasses you can make out held inside. A text installed just beneath gives a winding explanation: ‘at the mechanics…hovering over the body wash pit out came the camera and almost at the same moment as taking the shot the sunglasses disappeared into the pit’. Pulling back, the quarantined sunglasses might now make more sense, displayed in a sort of makeshift mini-version of the car workshop. But then the photo itself, you can’t help but look again and try to stare into the impenetrable depths of whatever forsaken globs of mank had gathered in that drain over the years. Continue reading
Marian Goodman Gallery, London, 21 June – 29 July 2016
Joseph Grigely, The Gregory Battcock Archive (detail), 2009 – 16. Image courtesy the artist and Marian Goodman Gallery.
In any visit to an exhibition there’s always something of the shifty air of dumpster-diving: sifting through someone else’s stuff, trying to piece together what kind of person, or persona, has moved on from the things that have been left behind. We’re only temporary trespassers, haunted by the absent spectres we conjure from the remains. The Gregory Battcock Archive is doubly haunted, a small room of seven elegant vitrines filled with photographs, letters, scripts, zines, postcards and other ephemera, accompanied by several posters and one small, moody painting on the wall; the ghosts in this room are not only Battcock, a writer and critic who was active in the heyday of 1960s and 70s New York City and was found murdered in 1980, but also Joseph Grigely, the artist who accidentally stumbled upon Battcock’s papers during the 1990s after a storage company closed, and left its clients’ possession strewn across a floor of Grigely’s studio building. Grigely’s resulting artwork, The Gregory Battcock Archive (2009–16) isn’t so much an archive as a subjective selection from Battcock’s papers – or, more specifically, some stuff that Grigely held on to before the rest was donated to the Smithsonian’s Archives of American Art – that has been shown in various places over the past seven years, including the 2014 Whitney Biennial, and now here in the UK for the first time. Continue reading
David Lamelas’s September 1970 exhibition at London gallery Nigel Greenwood Inc Ltd consisted of a table with a 48-page book on it. The eponymous Publication, just reprinted by not-for-profit publishers Primary Information, consists of 13 written responses to the statements: ‘1) Use of oral and written language as an Artform; 2) Language can be considered as an Artform; 3) Language cannot be considered as an Artform.’ Most the replies are on the same bland register. ‘I think artists will be using language to make their art for a long time,’ Robert Barry states flatly. Yep. Continue reading
Rolf Nowotny, ‘Sur Pollen’ installation view, Tranen Contemporary Art Centre, 2015. Image courtesy the artist.
A man contracts an unknown illness: rainbow-coloured, rotting boils begin to cover his face and body. Afraid of being infected, his neighbours cast him out of the village, to live alone in a hut in the nearby forest. There, he swells and mutates into a reeking, globular mass, his distended form almost seeming to merge with the mushrooms and moulds that have grown in his fetid dwelling, as he spends his days painting flowers and animals. Hideshi Hino’s manga fable Zoroko no Kibyou (Zoroku’s Strange Disease, 1969) culminates in the villagers marching into the woods to kill the deformed man. What they find in his stead is a giant turtle with a magnificently bright shell – the colours of which match Zoroku’s psychedelic pustules – who then disappears. All that remains is a series of luminous landscape paintings made with blood and pus. Continue reading