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Last Updated: 04/12/2008 16:32:15
November 08 - All Systems Go: Red Gallery Group Show (1/2)
By Philip Wincolmlee-Barnes
(1/2), (2/2),

According to their publicity (and not counting numerous one-off live events and screenings) this is the gallery's 108th exhibition. This certainly shows my age, as I've been involved with the space in one capacity or another for over ten years now.

Not that there appears to be much in the way of personal wear and tear over this time: I still get asked for ID in public houses and in off licences. (Perhaps my habit of bathing in virgin's blood - ok, red wine - is paying off? Or perhaps the arts really are as rejuvenating as their advocates so often claim them to be?)

The artists in show 108 are the current committee members - Martyn Edwards, Ben Smith and Andrew Quinn (all white, all male: how deliciously un-PC...).
And it's good to see an artspace run by actual practising artists, and not merely by cappuccino-fuelled administrators.
The gallery's previous show, PortEst saw three Estonian artists tackle the theme of portraiture in different ways and by using different media.

Group shows can run the risk of being somewhat 'bitty' and disconnected, and yet whilst this current exhibition had no proscriptive theme as such, a preoccupation for systems runs through all three of the artists' offerings.
Martyn Edwards presented visitors with a bold wall-length fresco of white, grey and black rectangles, which impressively engulfed and dominated the room. One visitor suggested that these tilting, alternating shapes might have been determined by the throw of a dice.

I'm not certain about this, but there were clearly aspects of both chance and systematic determinism in evidence.
It had that crisp, 'cool' and (intentionally) monotonous effect akin to 1960's minimalist art - Frank Stella's geometric paintings sprang to mind, as did Carl Andre's obsessive arrangements of bricks (which still continue to confound, annoy and divide audiences to this day...).

Edwards' mural also possessed, for me, a kind of 'retro interior design' aesthetic: it wouldn't have looked out of place as décor for a James Bond penthouse or on the set of a 1960's pop music show (although, no doubt, the artist would balk at the idea of having his work reduced to the function of decoration).

This type of minimalist art - as with Daniel Buren's striped paintings or Rothko's gargantuan 'field-of-colour' works - is, arguably, either the high watermark or the dead end of modernist art. Seemingly devoid of transparent meaning, it doesn't appear to serve any tangible, utilitarian function (unlike, for example, the colours of army camouflage, whose visual effect isn't so different from that of abstract painting).
This type of art doesn't seem to 'do' anything. There is an absence of narrative: it is devoid of a moral impetus. It just is.

In a previous article ( A Walk Through H ) I related an anecdote about a visitor struggling to discern female forms amid the swirling colours of paintings by a previous Red Gallery exhibitor.

More amusing (or absurd) still was a claim, made during the Communist panics in 1950's America, that Jackson Pollack's works could actually be read as covert 'maps', exposing US fortifications.
Yet Abstract Expressionism, with its exuberant and freewheeling clash of colours, does seem 'warmer' than pure geometric minimalism; it will be forever associated with bebop jazz, nightclubs, cigarette smoke and boozy, beatnik, hipster shenanigans. Edwards' approach to the abstract in art, however, is calculating and sober, and lies somewhere between Zen-like contemplation and a kind of didactic rigidity. In a world of noisy chaos this kind of austerity can be most refreshing. (I could comfortably live with it in my bachelor pad, at any rate...)
Room 2 of the show was occupied by Ben Smith's playfully interactive installation, in which red snooker balls were despatched by visitors from a revolving disc down one of four chutes, travelling around the gallery walls via a series of tilting platforms.

The balls subsequently return to the centre of the piece, and are ceremoniously jettisoned back into a receiving dish at the foot of the rotating apparatus.
It was rather like an outsized version of a pinball machine or, for those of a certain age, a giant game of 'Mouse Trap' (I think he should be commissioned to produce life size versions of Ker-Plunk and Buckeroo - that would sort out today's Asbo kids...)
There were obvious suggestions of playfulness here and, Ker-Plunk and Mouse Trap aside, the work was also reminiscent of other 'installation-as-environment' and pop art precedents; Warhol's gallery filled with silver helium balloons of 1966, Yayoi Kusama's Endless Love Room (a kind of precursor to today's night club 'chill out' zones) and David Medalla's kinetic works which filled their spaces with sand and foam.
The installation was a pleasing combination of Science Museum-meets-Fun Fair-meets-Fine Art.

Continued .... Next Page (2/2)

Reviews, Arts - From The Postmodern To The Pastoral: Two Recent Exhibitions in Hull By Philip Wincolmlee-Barnes PortEst Exhibition Photographs by Andrew Quinn
PortEst (Red Gallery, Sept/Oct) was an exhibition by three Estonian artists - Jane Remm, Piret Peil and Minna Hint - in which the theme of portraiture was subjected to a variety of treatments in different media, making for a diverse and captivating presentation. Francis Bacon used to say (usually whilst somewhat addled) that he was trying to Read more...

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Contemporary Art: either you're 'out' or you're 'in'. Either you 'get' the somewhat jaundiced, laconically ironic stance of much of this work - you know, of how we're living in a post modern world bereft of a single 'grand narrative' - or you remain nonplussed at the often obtuse outpourings of these 'so-called artists'. And many of them don't even have proper jobs (whatever one of those might be...). Read more...

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Back in black and ready to rock the venue from the rafters to its foundations, Steve Steinman vaulted into an epic rendition of Life is A Lemon without delay, the incredible power of his vocal delivery reaching the row furthest from the stage with ease. I should know: that's where I was sat, yet the sights and sounds even from back there were to be savoured. Having mimicked Meatloaf for almost twenty years now, Steve Steinman's Read more...

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Reviews, Events - Wednesday 19th December 07 - Off The Road at The Adelphi By Michelle Dee
Jane Foster opened the show by taking a traditional Christmas poem and bringing it right up to date. So 'Twas The Night Before Christmas was set on a decrepit council estate with characters more attuned to Christmas spirits rather than the spirit of Christmas. Jane delivered the five minute piece with a cool ease and her references to local Read more...

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Reviews, Theatre - Saturday 13th October 07 - Vampires Rock at Hull New Theatre By Steve Rudd
It's safe to say that Steve Steinman is one of the hardest-working singers and performers in the UK. No sooner did he finish his Bat Trilogy tour on the brink of summer, and he was getting back to grips with his other great show - Vampires Rock - in anticipation for the current Autumn tour that's sweeping up and down the country in style. Read more...

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