London MI works : Feb-May 2016

It is impossible to review all the London MI art I see in depth, so here is a brief overview of works that have caught my eye in recent months.

Anne Tallentine – Hollybush Gardens

Morning Lane, a single channel video comprising a static shot of two contrasting surfaces on an urban roadside. Ripped polythene flapping in the wind and a single plastic cover that seemed to inhale and exhale. Schematic but visually arresting contrasts of this random fluttering and the rigid lines of the traffic traversing the view.

Themersons- Camden Art Centre

These Polish expat artists made a political piece for the exiled Polish Government during WW2. Calling Mr Smith is a rallying cry to wrest back Germany’s cultural heritage from Hitler. As an artistically driven documentary film it was way ahead of its time

Mark Wallinger- Hauser and Wirth

He offered two very  original videos.

1  A barber’s shopfront seems eerily still with only the revolving spiral red pole showing the passage of time. However this is an illusion as the film consists of two frames which alternate at a high enough speed to give the sense of continuous movement.  Time has actually been caught in an endless loop that we can see by the metronome action of the second-hand of the shop’s clock.

2  The viewer is inside a four screen installation of the same scene in the four seasons. It happens to be a roundabout with an ancient oak tree at its centre in Barkingside that I know well. The film is shot from a car driving endlessly around the roundabout similar in theme to the infinity loop of his  Circle Line train cab video.

Aleksandra Domanovic at the  Zabludovicz Collection- Emotional Supply Chains

19.30 is a two channel video feature a vast array of TV news  idents from ex Yugoslav republic TV stations selected from the archives. This is set against footage of impromptu rave parties. She conjours up nostalgia for analogue formats in the pre-digital  broadcast age.  Interesting to see how the ubiquitous globe in the newscasts is retained when model props in the 70’s were replaced by computer animation in the 90’s. This is paralleled by the stentorian  timbre of the music intro themes  that survived the usurping of live musicians by the MIDI synthesiser.





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