Art Review - March Issue - (Page 147)

Warning : session_start : The session id contains invalid characters, valid characters are only a-z, A-Z and 0-9 in /mnt/data/www.nxtbook.com/fx/config_1.3/global.php on line 9 Warning : session_start : Cannot send session cache limiter - headers already sent output started at /mnt/data/www.nxtbook.com/fx/config_1.3/global.php:9 in /mnt/data/www.nxtbook.com/fx/config_1.3/global.php on line 9 Warning : Cannot modify header information - headers already sent by output started at /mnt/data/www.nxtbook.com/fx/config_1.3/global.php:9 in /mnt/data/www.nxtbook.com/fx/config_1.3/global.php on line 10 REVIEWS LUNAR REGGAE Jim Lambie, Zobop, 2006, vinyl tape, Down Down, 2006, shirt, spray paint, mirrored plinth, and in reflection of mirrored plinth, Soul Stick, 2006, bamboo, cotton wire, dimensions variable for all works installation view . Photo: Denis Mortell. Courtesy Irish Museum of Modern Art, Dublin . ALL HAWAII ENTREES LUNAR REGGAE I R I S H M U S E U M O F M O D E R N A R T, D U B L I N 30 N O V E M B E R – 18 F E B R U A R Y A mix of admiration and irritation is provoked by the catalogue to .all hawaii eNtrées / luNar reGGae, a publication which has, at the suggestion of cocurator Philippe Parreno, been designed to appear blurred throughout. O cially another limb of the exhibition, the book contains an excerpt from a comic by Grant Morrison, some fiction from Cory Doctrow and Kurt Vonnegut, as well as writing from Parreno and Liam Gillick. The written work in particular is deeply puzzling, more for the di culty faced when trying to read it than in any of its content. The pay-o for struggling with page after page of small, systematically blurred text, however, is an astounding perceptual rush when one looks once more at objects in the real world. It is a simple enough trick, but one that harmonises nicely with the overall struggles of an exhibition that twists restlessly away from closure. The game here, as ever, involves a critique of museum practice and an attempt, occasionally elaborated with almost adolescent wilfulness, to introduce some unsteadiness, to remove a few comforting layers from the ‘art experience’. Perhaps consequently, much of the work has a perplexing mute quality on first encounter. No matter how frenetically ambiguous their import, most of the e ects here are gentle ones, embodied in work that quietly waits for its audience. Even the grander rhetorical gestures – such as Cerith Wyn Evans’s Cleave 03 2003 , a Second World War searchlight flashing Morse code into the evening sky – operate through a still, institutional aesthetic. Liam Gillick, whose explorations often touch on the aesthetics of bureaucracy, is involved in several works here, including In the Lights Are No Nearer 2006 – a series of brightly coloured stickers describing the closure of a factory and consequent superfluity of its workers. The drily recounted narrative slowly unravels itself around other work by Gillick, in particular his most recent Dublin show at Kerlin Gallery, in which unexpected correspondences between art theory and industrial production were ignited. .all hawaii eNtrées / luNar reGGae, as its anagrammatic title suggests, also finds space for a fair measure of irrationality unscrambled, it spells the English and Irish for ‘new galleries’, the spaces at IMMA that house the exhibition . In Séance de Shadow III blue 1999 Dominique GonzalezFoerster paints one space in a poisonously antique shade, then booby-traps it with some motion-activated footlights, so that visitors cast fleeting shadows as they move through the room, catching a glimpse of themselves as wraith-like and fugitive. Anri Sala similarly has a dark room to himself; a video monitor showing a DJ playing records on a rooftop, beyond which erupts a delightfully un-choreographed fireworks display, creating a session of pop sublime and one of the show’s truly arresting moments of multimedia poetry. A small bottleneck forms around the screen showing Peter Fischli and David Weiss’s early The Way Things Go 1987 , with its infinite recess of deferred gratification, as one fizzing contraption overturns, or burns, or overflows another. It appears that even under the regime of that most encompassing of institutions – gravity – the unbreakable rules can interact to produce something profoundly comic. Luke Clancy ARTREVIEW p135-149 Reviews AR Mar07.indd 147 31/1/07 13:36:40  Warning : Unknown : The session id contains invalid characters, valid characters are only a-z, A-Z and 0-9 in Unknown on line 0 Warning : Unknown : Failed to write session data files . Please verify that the current setting of session.save_path is correct /var/lib/php/session in Unknown on line 0

Table of Contents for the Digital Edition of Art Review - March Issue

Manifesto
Dispatches
Consumed
Tales from the City
David Lynch
Marcel Dzama
Future Greats
Art Pilgrimage: Moscow
Mixed Media: Moving Images
Mixed Media: Photography
Mixed Media: Digital
Reviews
Book Reviews
On the Town
On the Record

Art Review - March Issue

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