2017 has seen a surfeit of stimulating MI artworks in London galleries. As the year reaches its final frame I am impelled to hoover up some of the missing highlights – the clippings on the cutting room floor – that have not made it to the final cut of earlier blogposts.
Bruce Conner‘s A Movie (1958) at Thomas Dane Gallery in July was an eye-opener for me showing the strengths of the pioneer MI artists. This early example of collaged newsreel footage was prescient, contrasting personal with political dangers such as the iconic atomic mushroom cloud. Billed as the first “assemblage film”, much that has followed in the last sixty years in a similar vein is more clumsy and haphazard lacking the energy, precision and harmony of the chiming images in Conner’s editing. Conner died in 2008 but his legacy for moving image art is a significant one
John Akomfrah’s overblown 70 minute six screen installation, Purple, at Barbican Curve also used found footage and was an interesting comparator to Connor’s 12 minute work. It was also an attempt at a global overview of contemporary issues but with much less economy. Intermittently dramatic, it failed to hook you in, its portentous gravity and lack of visual harmony in the edit making it feel a bit plonking in comparison.
Paul Pfeiffer at Thomas Dane Gallery in July was memorable for its unusual video effects. In his series of short looped videos, Caryatids (2016), boxing fight sequences with one of the boxers digitally erased leave us to focus on the spectacle of his opponent being battered. The sight of his head bouncing and his neck muscles straining from the unseen blows stripped backed this sport to its barbaric reality
Into the Unknown, the sci fi exhibition at the Barbican Curve, was crammed with too much miscellaneous art but I was taken by the retro charm of Soda_Jerk‘s Afro Black which is a 30 minute homage to Afro-futurism, sampling sci-fi movie clips and some classic music tracks incuding Kraftwerk and Sun-Ra.
Shana Moulton’s videos at White Cube Bermondsey’s surrealist group show of women artists in August were quirky but satisfying as she seems to treat each object she films with such reverence. This was particularly evident in one where the objects were installed in front of the screen as well as appearing on it.
Willie Doherty’s Loose Ends at Matt’s Gallery in July was a two screen video installation consisting of a series of slow zooms onto a variety of scenes associated with the 1916 Easter Rising including derelict patched-up Dublin buildings. This “ruin art” essay combined with commentary on political myth making was very hypnotic in its pacing and provoked ruminations on the interaction between personal and historical memory.
The films of Allora and Calzidilla always combine poetic imagery with a political ambiance. Their exhibition Foreign in a Domestic Sense at Lisson Gallery in November had subtle but intense charge inspired by their opposition to American imperialism in Puerto Rico. Their film The Night We Became People Again contrasted shots of the interior of a vast cave and abandoned industrial plants. It takes its title from a short story by José Luis González, where Puerto Rican immigrants in a US power blackout exult in the sight of the star-filled night sky undisturbed by light pollution as a reminder of their homeland.