Most of those lucky enough to see Edwina Ashton’s performance at Jerwood Space in the next five weeks will be, presumably, non-plussed. How else to react to people dressed as lobsters?
For three hour stretches the lobsters may be seen to rearrange objects. There may be more to it, but that’s the gist. It’s a response to the little known fact that real lobsters rearrange their caves.
This is an extensive a tribute to a crustacean whose most famous fan was the 19th century French poet GÃ©rard de Nerval. It was him that characterised them asÂ “peaceful, serious creatures.”
Said term might of course also apply to artists. In which case, the piece is a good demonstration of â€œthe choreography of positions between artist, artwork and audience.â€
It is only through this arrangement, according to Catherine Wood, that dancing lobsters and the like can be comprehended. This curator’s essay is well worth reading in the online catalogue.
And this rule applies to painting and sculpture just as much as performance; performance merely foregrounds it. The implications are incredible and a little frightening.
Positions on a dancefloor or indeed a stage change all the time. The movement of the audience will therefore determine the meaning and certainly the value of any piece of art.
But of course we are being moved around in our turn by the artist, via whatever channels they hope to communicate, and the various appearances of the work.
If proof be needed that the quality of your aesthetic experience boils down to social context, look no further than lobsters and a second essay, this one by David Foster Wallace.
The novelist points out that until the 19th century, lobster was dished up in prisons. Many said it was inhumane to make the inmates eat today’s delicacy more than once a week.
You would think that a taste for food might be less subjective than a taste for art. But as lobster numbers dwindled they became more desirable dance partners. Inevitable really.
We can only be non-plussed for so long and no one can respond to a piece of art in isolation. Other people’s discourses are then part of what we are looking at. It’s lobster, after all. Eat it up!
I haven’t even seen this piece yet, by the way. I’m planning to next week and will report back. It’s being performed at Jerwood SpaceÂ as part of SHOW, until April 21 (Tuesdays and Thursdays 2â€“5pm). See gallery website for directions.
One thought on “Edwina Ashton, Peaceful serious creatures (lobster arranging), 2011”