10 September 2011 § 3 Comments
The privilege of holding the first show at Haunch of Venison‘s restored and revamped space goes to Adrian Ghenie, a Romanian artist. A modest group of new paintings is supplemented by less successful collage works that are pasted directly on to the gallery walls.
Ghenie takes found images of historical icons and overlaps them with an array of cultural references on moody paint splashed canvases. Often dark and brooding he reflects on good and evil introducing figures like Ceaucescu and Mengele before almost obliterating them behind smears and streaks of multicoloured paint.
He says ‘I am interested in the presence of evil, or more precisely how the possibility for evil is found in every endeavour, even in those scientific projects which set out to benefit mankind.’ In one large-scale work for example Charles Darwin is connected to the Nazis by their search for Aryan perfection. In another deformed dogs scrabble around in the shadow of a nuclear test (we are told) or perhaps it is a post-apocalypic vision.
The works are undeniably eye-catching and the technique impressive but I found the purported links tenuous or opportunistic. The execution did not really reflect what we were told of the thought-process or perhaps they did not engage. The collages I will ignore as a decorative afterthought in order to fill the airy gallery space. Personally I would prefer more clarity in execution and perhaps in the future we could see something rather more special? Not sure really. Opinions welcome.
Haunch of Venison until 8 October 2011
20 July 2011 § Leave a comment
Thomas Struth seems to photograph structures – cultural, natural, artificial, historical and probably lots more I’ve not even noticed. Except he does not always. You could also say his work is about relationships. And its also about the nature of looking. And… well, the thing is, just when you think you have put your finger on exactly what you believe Struth is doing it slips away from you. There is always just a litttle bit more than meets the eye.
This retrotrospective at the Whitechapel looks at his work from 1978 to the present day – effectively his whole working career. Given the 30 years or so covered and the vast scale of many of his works the show barely skims over the surface but despite this you do not feel short-changed – this is a well curated and wide-ranging overview of his work.
Learning his trade under the influential tutelage of Berndt and Hilla Becher Struth began taking small scale city shots, absent of people in places like Dusseldorf and New York and by photographing similar scenes he emphasies their differences. Soon the images become monumental and large scale. In one series he captures both museum visitors and artworks examining not just one but both of them as well as their relationships to each other. The curve-ball he throws in is our position as observers – what are we doing, what are we looking at and why?
Back to the structures. There are cathedrals and places or worship, tangles of wires and industrial scenes, jungles and forests. All in immaculate detail, verticals miraculously straight (how does he do it?). They are often beautiful, impressive and aesthetically pleasing, but there are always more questions being asked – what are we being asked about the nature of religion or the role of technology?
Even when Struth takes what appear to be straight-forward family snapshots they are not quite what they seem. It turns out that the subjects arrange themselves in a location also chosen by themselves. These shots are more then about family structures and personal relationships than a simple photographic record.
An impressively curated show about a very important artist. Do not miss. Another recommendation? The little curry house on the corner does a great lunch….
Until 16 September 2011 at the Whitechapel Gallery
- Thomas Struth: Photographs 1978-2010, Whitechapel Gallery, review (telegraph.co.uk)
- Thomas Struth: Life through an epic lens (independent.co.uk)