Young talent fizzing with fresh ideas abounds at the ICA’s Bloomberg New Contemporaries exhibition where diverse moving image artworks engage with contentious issues including the downsides of social media, the complexities of gender roles and the marketisation of art.
Christopher D.A. Gray’s Becoming Boxers (2015) was the standout work for me because it conveyed the dismal truth about the vanity and desperation of male aggression as seen in the evolution of physical violence from the fist fight to the ritual of the boxing ring. Using his unadorned hands as a powerfully articulate “actors” they become realistic, expressive puppets parrying and striking blows accompanied by smacking wince-inducing sound effects. As the bout progresses the fighters transform from bare knuckle linen swaddled sluggers to boxers in full professional regalia with cunningly crafted heads and gloves. The simulated fury is uncanny and unsettling. Douglas Gordon has also portrayed his hands as sinister performers but Gray takes this specialised subgenre of performance art to a new level .
“Ultimately images are subject to the same fanaticism as bodies are” is a telling quote from Zarina Muhammad’s lively and revealing website. Dancing with uninhibited larkiness to a translated version of the Punjabi rap megahit, The English Beat by Yo Yo Honey Singh slowed down to spooky growl, she draws attention to its rather creepy macho lyrics. Against a green screen background of internet clips of warfare and violence some of which are reminiscent of ISIS videos, she points to the close alliance between religious fundamentalism and misogynistic sexual anxiety. This interplay is examined further in her amusingly flamboyant video, Digjihad, and I look forward to more of her MI works in this exciting vein.
Maryam Tafakor’s Iranian heritage as a Muslim women investigates similar issues in a different context. Absent wound is an engrossing lyrical film which contrasts the rituals of Persian warrior training with the recitations of a young girl coming to terms with her impending womanhood. This exploration of gender segregation is thoughtful and compelling.
Richie Moment’s three punchy, satirical films Green Scream, Up and Coming and PhoneCall are 90 seconds long but each use a concentrated overload of colour saturated imagery and angry commentary to give cathartic relief to the artist’s frustration in attempting to launch his career in a shark infested art market.
Karolina Magnusson Murray and Leon Platt are showing three of their co-produced films The Names, The Work and The Application which would suck up 90 minutes of your time if you could withstand the torture of watching the convoluted bickering of these two artists as they attempt to cooperate on the creation of an artwork. The artwork just happens to be the film you are watching. This reflexive mode is like looking for the two sides of a Möbius strip or watching a snake consume its own tail. I guess these uncomfortable and irritating films say something about collaboration being a painfully fraught business where jealousy lurks just under the surface threatening to sabotage the whole project.
Janina Lange’s Shooting Clouds #2 is such a peaceful and meditative work. Shot from an open helicopter it slowly circumnavigates a puffball cloud drifting stately like a galleon over the landscape below. Its sculptural form is reinforced by the bronze replica she presents with it, created from 2D image capture and 3D printing, reminding us of the fragile boundaries between gas, liquid and solid. Although on first viewing this was primarily an aesthetic experience, it later brought the perils of melting icecaps to mind.
This is only a selection of the many promising and original ideas that are inspiring the artists at this important annual ICA exhibition which runs until 22 January.