Discreetly activist

Comb a schooner like a comet: Annie Bradley, Matthew Crookes, Peter Madden, Charles Ninow, Beth Orton, Ralph Paine, Martyn Reynolds, Daniel Webby, Tao Wells
Newcall
1 December - 19 December 2009

Seeking work that was opinionated, inclined to agitation and direct, the Newcall curators for this exhibition have approached nine artists who according to the blurb, have practices oriented towards 'activism or confrontation.' At the same time, the curators are sensitive. They are cognisant of Free Will, that of the artists and their own in selecting them. So nothing can be assumed in terms of product.

That last bit is crucial because this is not really a placard waving show – though Tao Wells’ invitation of audience participation in placing photographs (with the word WAR) of the gallery neighbourhood in the gallery neighbourhood, and Ralph Paine’s large wall of paintings and drawings on paper, come closest to that lack of nuance in that their subject matter is obvious.

Wells’ project involves a box of 24 photocopied images of the gallery and the streets around it over which is placed WAR in bold yellow caps. He asks the viewer to either stick them up inside the gallery and/or outside, or to sell them as books. A couple ended up on Newcall walls, including one of some colourful birds placed over a power socket, folded so the word WAR was hidden. I didn’t spot any outdoor versions, except an Obama /Bush hybrid on the front door.

Ralph Paine’s wall-sized offering shows off his superb skills as an illustrator: images of jets, medieval battles, lots of explosions, curling waves, agonised skeletons and burning cities - the latter alluding to say, Beirut or Baghdad. All beautifully rendered in an understated fashion with no fine detail. And surprisingly for Paine – no text.

I didn’t see Peter Madden’s ‘para-performance’ on opening night – a found suitcase opened to reveal found photographs, but on a nearby wall is a small solitary photograph of what seems to be a group of sportsmen - maybe cricketers. A standing figure on the right has superimposed over half his body a military uniform, suggesting somebody killed in the Second World War.

Matthew Crookes has three works. One is a suite of sticky, peel-off letters that repeat the phrase In Loving Memory on a top corner of the glass front door. A second is a row on the floor of empty plastic book covers, all blood red. The third is a dessert spoon resting on a short piece of four by two. On its scoop are the stickered words: lick me disease.

Martyn Reynolds has a DVD presentation of a short looped film showing an old wooden chair standing in an empty field. It is projected onto a thin wall from an outside studio which when you look, contains the same chair holding the projector. The evocative flickering image is blue, that most poignant of colours; the chair a symbol for absence; the field perhaps a trope for European soil. We have pathos, yet a construction that is calculatedly knowing in its reflexivity.

Beth O’Brien’s single framed photograph of a young woman soldier struggling in a park to control an unwieldy, wind-dragged parafoil. Quiet Decisions, Specific Intentions seems to be an anti-military statement of considerable understatement, snorting at the notion of ‘managed’ intervention.

Uncontrollable process is showcased also in Daniel Webby’s installation, where a sloping ‘hammock’ of clear, wrinkled, cling film is suspended across the width of the gallery space between two towel holders. On it Webby has attempted to balance a gooey line of soaked dehydrated potato flakes, which has then fallen to the concrete floor. Attracting mould and smelling, the spud glop was later removed –though traces remain.

Annie Bradley contributes a two channelled video showing the artist and (I think) her father placing some household items in a trailer to be transported overnight. They need to be very securely tied down so they don’t slide around and get damaged. If you only know one knot… has one camera positioned on the van roof filming the trailer from above, while the other is partially aimed at a reflective window in the van’s door. The title advocates multiple approaches to problem-solving.

The last item is Charles Ninow’s sculpture that consists of two white trapezoid plywood forms on the floor. They seem to refer to the sloping eaves of a house and the demarcated proportions - measured out with steel brackets – of a sheet of a single bed. To speculate: the sheet in this context could be a shroud, and the ceiling, the ascension of a soul escaping from a corpse. An oblique and clinical, but also oddly evocative, work.

Shortly after writing and posting the above I was chatting to Dan Arps at Te Tuhi. He pointed out that the 'steel brackets' on the sloping upper surfaces of Charles Ninow's work are in fact anti-skateboarding blockers - an allusion to social control and American foreign policy perhaps.

Three films

Annie Bradley, Cellulite Rose, Susie Thomas: Lending Looks To Other People
The Film Archive
17 October - 21 November 2009

I like the crazy ambiguities of this title. Is it about misspelt 'books', lending supportive glances, or the activity of borrowing or sharing? This confusion is not just me being a bit thick. It’s deliberate. It’s a little tricky figuring out who does what in this show. Even the writer of the accompanying text, Matthew Crookes, is not very sure for example, of what Cellulite Rose is going to contribute. He never really finds out.

What turns out to be her work, was I initially thought, a second part of Annie Bradley’s. And a soundtrack I imagined was Cellulite Rose’s, ends up being made by Susie Thomas. Yet in a perverse way all this scrambled muddle makes sense, for the show’s theme - if there is one – seems to be about slippery identity (Rose), false decoys (Thomas), and the reliably stable self (Bradley).

Rose, with her two tiny screens propped up in the centre of the floor, has a young woman (the artist?) addressing the camera about the nature of the self, causality and identity – pondering some of the issues an empiricist philosopher like David Hume raised three hundred years ago - and attacking viewer assumptions about any fixed essence behind her corporeal presence, and inanimate objects like light switches.

Bradley’s film, on the end wall, is about the attempted transmission of knowledge from a patient teacher to a pupil trying to learn to whistle, but who is getting nowhere. He can’t get the mechanics of manipulating his lips and cheeks correctly. The funny thing is that the coach, though long suffering, is no musical virtuoso. Technically she is quite clumsy. However she is also a rock of dependability, constantly encouraging and supportive.

Susie Thomas’s film seems to be a satire about claustrophobic reflexivity, a joke about art that obsesses over its own production processes as content. It is a long scrolling text about copyright and legal stipulations, with her own name appropriately inserted. Designed I think to make you irritated and groan, it has a sound track that in contrast is quite gorgeous, espousing the natural world outside the gallery through the recorded clicks and whirrs of what sounds to me like a flock of starlings.

Their chirruping voices sound electronic, even metallic, but they bring to mind the world of non-art, unless you are thinking of John Cage and his use of 'given' ambient sound. This densely textured birdsong seems to be the real point of Thomas’ project, and the moving legalese a droll excuse for some accompanying visual material needed to pull an audience. The film is the bait to which you will ‘lend a look’, but the solid work – the ‘art’ part which you are initially not aware of (and for which you need the headphones) - is the avian soundtrack.

This is a clever, subtle little show that these three artists have organised. Worth viewing on your way into ARTSPACE.

Out the Window

Various Artists: Raised by Wolves, Richard Maloy, Sam Rountree Williams, Holly Willson, John Ward Knox, Annie Bradley
Window
Curated by Holly Willson and Sam Rountree Williams
Design work by Nell May
11 February – 6 March 2009

This is one of those shows that is all about context, about the art ‘frame’ or what is outside it – rather than what is within, though that can’t be ignored either.

This time there is nothing actually inside the Window window in the library foyer. Works are located at various spots around the university, or in Annie Bradley’s case, online. Some are easy to find. Others aren’t (despite the terrifically designed info sheets by Nell May that have maps), and after several attempts I gave up searching. This writing is about what I found.

So how important is this issue of context? What happens when you rip art out of the white cube (my violent metaphor is deliberate) and plonk it down in the so called real world. This show examines that. It is a theme Sam Rountree Williams has long been preoccupied with.

Personally I think the significance of context is exaggerated. This is because ultimately the declaration that something is art can never release it from an art context. If defined as such, that frame is always there and will never dissolve. Whatever the physical environs a work is put in, saying it is ‘art’ or knowing it is such, helps shut out many distractions that might intrude. The only thing that really makes that process difficult is putting it close to other art works. It is like putting two different cake mixtures, based on two different recipes, together in the same baking pan. Something very peculiar happens when they mingle.

That is the logic behind Sam Rountree Wiliams’ placement of one of his three oil paintings below an early Richard Killeen cutout in the library foyer. The two works play off each other but in my view both suffer. (If I was Killeen I’d be annoyed he put his work so close). It’s like pouring a can of Pepsi into a tin of baked beans and expecting the resulting concoction to taste good.

With his two other placements Rountree Williams uses other university buildings, those of business schools, and again plays off against the university collection in one building, making a comment perhaps on the prestige of acquisition. Does the work’s meaning change when it pretends to be included in an important collection? Well maybe not its meaning, but certainly its value. (In the northern hemisphere collectors often have to prove the pedigree of their collection before a dealer will sell to them.)

What about the business schools? Is this artist slyly trying to interest future corporate CEOs in his practice while they are in his age group and still studying? And what of the actual architecture of the buildings? His small painting displayed in the brick Old Choral Hall looks quite different from what it would look if hung in the same space as his other work – in the new Owen G. Glenn Building, a huge modernist glass tower.

Richard Maloy has his videos of private performances positioned in varied spaces within the library building. You really have to move extensively around the different floors to see them. His three recorded actions of building up accumulations of clay over his ear, nose and hand, and torso and arm, attempt to create bodily extensions or corporeal substitutes, and seem in this context to be a comment on the library as a repository of knowledge, an adding to of the mind’s resources, an extension of accumulated mental faculties.

Annie Bradley’s online spread page takes a lot of scrolling to explore properly. It is a meandering Photoshop–style collage, with various snaps of pedagogical spaces, like the School of Medicine, with long bland corridors and pokey lecture theatres. Interspersed throughout are configurations of stacked, unravelling files that become floating snowflakes or tumbling sheaves; sliding toppling reams of information. Most dominant is a geometric frieze of folded, interwoven ribbonlike lines that doubles as a complex maze of alternating pathways and corridors for the student.

Bradley’s sprawling field makes her compressed and layered forms take on the structures of microscopic plants and crystalline minerals, mixing them into the interior images of architecture. In her vision of knowledge accumulation and dissemination, culture and nature blend and become interchangeable.

There is more to come in this exhibition. A performance by the Wellington group Raised By Wolves will be presented at the Clocktower on 2 March.