|Martin Creed, Work No. 845: Things, 2007|
On a recent visit to the Ikon in Birmingham (see Jamal Penjweny and David Tremlett, below) I took the glass lift down from the top galleries (I love glass lifts) and had the bonus pleasure of experiencing Martin Creed's Work No. 409: For lift and choir of bass, alto and soprano voices. The recorded voices deepen as the lift descends. I immediately rode the lift back up with rising voices; and down again.
This reminded me that Creed's retrospective at the Hayward is on my list of must see exhibitions. I have enthused before about his Turner Prize winning piece (Work No. 160: The lights going on and off - see below) and so have high hopes that the Hayward show will be good. Reviews, have, however, been mixed. His art is one that balances on a knife edge of silliness and banality, but when it comes off it can be a delight.
Read reviews by Tim Adams, Mark Hudson, Sarah Kent and Waldemar Januszczack (he hated it!); watch a video 'preview'; read a transcript of a talk given by the artist in Birmingham in 2008; watch a video of Martin Creed and his band performing in Berlin in 2012.
Martin Creed, Work No. 79: Some Blu-Tack kneaded, rolled into a ball, and depressed against a wall, 1993
|Martin Creed, Work No. 200: Half the air in a given space, 1998|
|Martin Creed, Work No. 1092: Mothers, 2011|
|Martin Creed, Work No. 264: Two protrusions from a wall, 2001|
|Martin Creed, Work No. 1315, 2011|
Martin Creed, Work No. 88: A sheet of A4 paper crumpled into a ball, 1995
|Martin Creed, Work
No. 701: Nails, 2007 |