art blog since 2009
Left-leaning liberals from middle class homes should hate the discourse which runs through Final Machine by Amanda Beech. Instead it could give them a masochistic thrill. The action runs fast, the soundtrack faster. This is punctuated by gunshots, not always easy or even possible to follow the arguments. But you catch enough to get the …
March 7, 2013
This is not a simple work but it is easy to enjoy. It is easy to enjoy if your idea of fun is lying back in bed listening to breakbeats and watching a movie on the ceiling. The footage shows scrambled data on a VDU, followed by a delapidated caravan in a clearing with a …
August 10, 2012
Peeping through holes at ladies dancing is not the main prospect which comes to mind when you plan a gallery visit. And to see Remahl’s work, men will have to stoop. But your sense of decorum is just about preserved when you realise that this peephole only features some arty, black and white, jump cut …
August 1, 2012
As with any 21st century talent contest, the three judges in Casting Jesus are impatient, cutting and at times cynical. They praise as well, of course, but not always with great sincerity. But unlike the panels we know from primetime TV, these worldly starmakers are a Vatican priest, a Vatican newspaper art critic, and a …
September 20, 2011
A film in the back room tells the story of Sein, who seems to be in perpetual flight around the city of Cairo. In piecing together her story, the artist may also be piecing together ours. Like Sein, we find ourselves lost in the city or at least the shop at 87 Sandgate Road, in …
August 23, 2011
KutluÄŸ Ataman has got into the spirit of the Brighton Festival with a carnivalesque metaphor for the recent turmoil in the Arab world: a waterfall which defies gravity. (This reading of Mayhem needs its full context, a series named after a region encompassing Iraq, Iran and Syria. And nearby here is another piece (Su) in …
May 13, 2011