Saturday, 15 March 2014

David Tremlett - Ikon

David Tremlett: 3 Drawing Rooms is at Ikon until 21 April 2014.
David Tremlett has been on and off my radar since the 1970s. I was first aware of him as a Conceptual Artist whose Spring Recordings (1972) comprised a shelf of 81 cassette tape recordings of sounds (mostly wind and birdsong) heard in each of the counties of England, Scotland and Wales.
David Tremlett, Spring Recordings, 1972 (Tate Britain)
20 years later(1992) he was nominated for the Turner Prize - however, alongside Damien Hirst, Alison Wilding and, the surprise winner, Grenville Davey, he was a rank outsider. But his poetic, abstract, pastel wall drawings and fragmentary texts, derived from the locations of his extensive travels, were beautiful.
David Tremlett, Portuguese Wall Drawings (1), 1992
In 2011 his Drawing for Free Thinking was installed on the Manton stairwell at Tate Britain. (Watch a video of its installation.)
David Tremlett, Drawing for Free Thinking, (Tate Britain), 2011
Now he is showing spectacular wall drawings at Ikon. Three rooms are are given over to his geometric abstractions executed in intense pastel pigment, graphite and varnish, and thick, black graphite grease. Gorgeous.
Watch a time-lapse video of the installation - which took more than 2 weeks to complete.

Jamal Penjweny - Ikon

Jamal Panjweny, from Iraq is Flying, (2006-10)
Jamal Penjweny: Saddam is Here is at Ikon until 21 April 2014.

Jamal Penjweny is an Iraqi-Kurdish photographer and film-maker who has produced remarkable work with very limited resources - supporting himself by working as a shepherd and running a café.

This exhibition comprises 3 series of photographs and 2 impressive and affecting films which, I believe, were made using a mobile 'phone.

The photographic series are Saddam is Here, Irag is Flying and Without Soul.

Saddam is Here comprises images of ordinary Iraqi people, each holding a life-size picture of Saddam Hussein’s face in front of their own. As Penjweny says, “Saddam is here. Iraqi society cannot forget him even after his death because some of us still love him and the rest are still afraid of him ... His shadow is still following Iraqi society everywhere.”

Panjweny was born during the Iran‑Iraq conflict in 1981: "War has always been part of my life... Through my photos I try to erase the idea of war." In Iraq is Flying (2006–2010) he does just that: Panjweny got his subjects to 'leap for joy' and created a (literally) uplifting collective portrait of ordinary people displaying innocent joy. 

Personally, I found the most intiguing and disturbing set of photographs to be Without Soul, in which a red line is drawn across the neck of every living person and creature in the photographs. Panjweny says "As a child I would often draw human figures, landscapes, animals and tanks… But at home I was told that it is not a right thing to make images of living creatures as it is a work of God, not of the human being. It is so because the one who gives the shape of the being is obliged to give it a soul in the next life. However, by drawing a line against the neck of the represented one can announce to God that he invalidates the image and is not claiming a position of the creator." For me, however, the images simply spoke powerfully of cruel and arbitrary execution and the innocent victims of war.

Photographs can sometimes give up all their information too quickly; the films, here, were, I thought, more powerful. One documents a market stall recycling Kalashnikovs which, as Laura Cumming puts it, "dangle like dead chickens from butchers' hooks". Another Life (2010) "is a film of young men smuggling alcohol between Iran and Iraq... [it] was made with a mobile phone and some superlative editing. Saddle-sore, stinking of horses, scarred from the bullets of roving border guards, exhausted but desperate to make a living and feed their families, the smugglers burn the crates to keep warm at night. One young man holds up a can of Amstel: 'For this I am shot at?'" (Laura Cumming.)

Read reviews by Laura Cumming and William Davie.
Jamal Penjweny is also featured in Welcome to Iraq at South London Gallery until 1 June 2014. This is a restaging of the exhibition originally shown as part of the National Pavilion of Iraq in the 55th Venice Biennale in 2013 - read a review of the Venice show in Frieze.
Jamal Panjweny, from Saddam is Here (2009-10)
Jamal Panjweny, from Saddam is Here (2009-10)

Jamal Panjweny, from Saddam is Here (2009-10)
Jamal Panjweny, from Iraq is Flying, (2006-10)
Jamal Panjweny, from Iraq is Flying, (2006-10)
Jamal Panjweny, from Iraq is Flying, (2006-10)
Jamal Panjweny, from Without Soul
Jamal Panjweny, from Without Soul
Jamal Panjweny, from Without Soul
Jamal Panjweny, from Without Soul
Jamal Panjweny, from Without Soul

Monday, 10 March 2014

The Library of Birmingham

I have paid my first visit to the new Library of Birmingham. Externally, the building is very striking and eye catching: essentially, it comprises a stack of blue and gold blocks of diminishing size 'dressed' in a screen of interlocking circles; the whole is topped by a golden, cylindrical rotunda. The form is very simple but the colour and patterning give it a cheerful, if slightly glitzy, shimmer. A world away from the muscular Brutalism (which I love) of the 1970s Central Library it replaces. I was uncertain about the new building to begin with but have quickly come to think it rather wonderful.
Inside it is splendid! Blue railed escalators carry the visitor up into a sequence of exhilerating, book-stacked spaces culminating in the surprise of the Victorian, wood-panelled Shakespeare Memorial Room on the 9th floor. A series of terraces provide excellent views of the city and towards the old Central Library.
The Library of Birmingham was designed by Dutch architectural practice Mecanoo and opened on 3 September 2013 by Malala Yousafzai. Read architectural commentary by Rowan Moore and Jonathan Glancey.

The view from the new Library onto Centenary Square with the Hall of Memory in the foreground and the old Central Library (designed by John Madin and opened in 1974).

Wednesday, 5 March 2014

Ruin Lust - Tate Britain

Jane and Louise Wilson, Azeville, 2006
Ruin Lust is at Tate Britain until 18 May 2014.
What a great subject for an exhibition; and a good title, too - it comes from the German coinage 'Ruinenlust'. The exhibition surveys artists' fascination with ruins from the seventeenth century to the present. The list of works exhibited suggests an enticingly eclectic and idiosyncratic approach including, amongst others, works by Turner, John Martin, Gustave Doré, John Latham, Jane and Louise Wilson and Rachel Whiteread. Highlights include:
- Joseph Gandy's drawing, commissioned by John Soane, showing the architect's new Bank of England building as it might look in the future as a ruin!  
- Tacita Dean's 2006 film Kodak (a 16mm film documenting the ending of production of 16mm film at the Kodak factory in Chalon-sur-Saône)
- Gerard Byrne's 1984 and Beyond (2005-7) - a filmed restaging of a a discussion between 12 science fiction writers, including Arthur C. Clarke and Isaac Asimov, about their visions of the future, originally published by Playboy in the 1963 (see also below).
Watch a short Tate video featuring a reading extracted from Rose Macaulay's Pleasure of Ruins.
Read reviews by Laura Cumming, Alastair Sooke and Jonathan Jones an essay by the exhibition curator Brian Dillon, and an article by Frances Stonor Saunders.
J.M.W. Turner, Tintern Abbey: The Crossing and Chancel, Looking towards the East Window, 1794.
John Martin, The Destruction of Pompei and Herculaneum, 1822
Joseph Gandy, John Soane's Bank of England as a Ruin, 1830
Paul Nash, Swanage (Steps in a Field), c1936
Jon Savage, Uninhabited London, 1977

Leon Kossof, Demolition of the Old House, Dalston Junction, Summer 1974, 1974
Rachel Whiteread, B: Clapton Park Estate, Mandeville Street, London E5; Bakewell Court; Repton Court; March 1995. (From Demolished)
Gerard Byrne, from 1984 and Beyond, 2005–7