Talent spotting at the New Contemporaries show at South London Gallery this year was frustrating. “The germ of a rewarding artwork that needs some tweaking” was my most common response. As discussed in my last post, the most engaging work was Roland Carline’s outward facing film. The popularity of this approach is growing but most of the Bloomberg selected artists this year seem to be looking inward for inspiration.
One exception to this was Cyrus Hung who is making a name for himself by taking the text from PR releases and documentaries of established artists such as Anthony Gormley and setting them to his own rap compositions. In George Baselitz A Focus on the 1980’s MV, 2019 we get to see much of his painting but ambiguity is laced through it: is it a tribute or is he gently mocking the pomposity of artists and critics? Hennessy Youngman’s satirical videos of the art establishment are an earlier example of rap culture used to hilarious effect. Another of Hungs’s videos on his website is a comic take on a UK universities recruitment fair in Hong Kong using rewritten lyrics to Always Look on the Bright Side of Life. This is both cutting and funny suggesting a more profitable direction he might take.
Umi Ishihara’s UMMMI’s Lonely Girl, 2016 exploits the photogenic features of Japan’s night-time streets. The cliches of such films are largely avoided by giving prominence to the roadwork lights and cones and to the more scuzzier locations. A woman initially comes across a semi conscious girl alone on a nightclub doorway. Over 20 long minutes we follow her heaving and sometimes giving a piggyback to a listless girl though the streets. It is the kind of art film where your mind is struggling to fill the gaps to give the narrative some meaning. The payoff for your patience is an ending that reveals the forlorn girl left abandoned on a pavement as she was found at the start of the night.
I also related to the desperate teeth grinding of the cartoon grotesque in Taylor Jack Smith’s Dentin which reminded me of Philip Guston and the Soviet-era statues of national political heroes that featured in the nightmarish digital animation YONAK by Bulgarian based George Stamenov.
The rest of the moving image art was rather underwhelming : humour falling flat, meditative work crushed by weighty seriousness and a scene remake from the feature film, Crash. The last Bloomberg New Contemporaries show I saw at the ICA in 2016 seemed to have more innovative artists. They included Zarina Muhammad who then went on to launch her own art review website The White Pube with Gabrielle de la Puente which I have enjoyed seeing make quite a splash even though it has been set up to counter the ubiquity of “old white men” like myself!