Advertisement

Waste, Not.

Galerie Gregor Staiger

LATH_000813-50_CMYK.jpg

John Latham, They’re learning fast (detail), 1988/2013, Aquarium, Seiten aus Report of a Surveyor (1984) und Piranhas, 50 × 100 × 40 cm

John Latham, They’re learning fast (detail), 1988/2013, fish-tank, pages from Report of a Surveyor (1984) and piranhas, 50 × 100 × 40 cm

A slew of gallery exhibitions opening in Zurich at the end of the summer contained the kind of expensively fabricated, high gloss, inoffensive art that seems made for corporate collections. And then, in contrast, there was Waste, Not., curated by artist Matthew Richardson, which needled at the criteria of value and standards for art production that the other shows were promoting. The exhibition title cut short the usual maxim (‘waste not, want not’), turning it into elliptical teenage sarcasm and inviting the viewer to consider if the works on show held worth or could, indeed, be superfluous.

The show brought together works by six British artists: Rachal Bradley, Timothy Davies, John Latham, Patricia Lennox-Boyd, Hannah Sawtell and Richardson himself. The first work the visitor met was Latham’s They’re learning fast (1988/2013), a fish tank in which young piranhas swim around four reprinted pages from Latham’s Report of a Surveyor, published in 1984. Of course the fish were not getting any wiser, in fact in their juvenile state they just seemed petrified by their surroundings, and Latham’s frustration – to communicate the ideas in his work he put them in black and white and still they were not taken up, so fish might be more receptive – could be sensed as keenly as ever. Richardson’s two sculptures in the show were equally futile and tongue in cheek. Self employed II and CV Clinic (both 2012) are small cubic steel units placed on the floor, the top and one side of each open, and both containing twin rollers; the latter, biscuit-coloured work also includes a replica cracker tucked tidily in one corner. Even though their titles are in the language of go-getting capitalist efficiency and they intimate utility, a service they could provide – printing or shoe polishing, say – they are quite evidently useless.

RICH_000817_CMYK1.jpg

Matthew Richardson, CV Clinic, 2012, Mixed Media, 21 × 21 × 21 cm

Matthew Richardson, CV Clinic, 2012, mixed media, 21 × 21 × 21 cm

Richardson compared the impotence of these male enterprises with Lennox-Boyd’s satirical fertility: Ovum (ooplasm) (2013) consists of six photographs, radiating yellow, of an egg yolk being separated; these were pinned to the wall behind a clear resin conduit threaded with a white extension cable. The yolks may suggest potential life, but they are unfertilized – the avian embryo winding up, perhaps, as human breakfast – while, unused, the cable carried only enough current to keep an LED illuminated. Bradley’s works, on the other hand, were gendered in a no-nonsense fashion; four 2012 pieces from her Out of Season series are photographs of Bridget Riley paintings from catalogues – where the artist chooses to present them reproduced as vectorized drawings – with a nurse’s watch pinned in the general top right of the landscape-oriented works. Sawtell’s Mole (2009–13) stood between Bradley’s images as if trying to be overlooked, a steel column lacquered green, with a light bulb at its head illuminating the wall behind. The work was a spy in the anarchic ranks, an interloper from the neighbouring world of dry formalism, of art to be seen and not heard. For Waste, Not. was chaotic but thoughtful, an exhibition that toyed with several ideas: of the artist as worker in a system; of reproduction to the point where an original is no longer necessary (Dolly the cloned sheep being the image on the invitation) and of art’s own obsolescence. Several of these works play at leaning into a mercantile art world, but hide true trouble-making colours. In so doing, the exhibition skewered the complacency of several concurrent neighbouring galleries whose new season shows favoured size and shine over criticality, reclaiming the gallery as a site for uncertainty and contradictions.

Issue 12

First published in Issue 12

Dec 2013 - Feb 2014
Advertisement

Most Read

Criticism of the show at the Hungarian National Gallery in Budapest comes alongside a nationalist reshaping of the...
A retrospective at Munich’s Museum Brandhorst charts the artist’s career from the 1980s to the present, from ‘fem-trash...
At the National Theatre of Wales, a performance alive with wild, tactile descriptions compels comparison between the...
There are perils in deploying bigotry to score political points, but meanings also shift from West to East
‘It’s ridiculous. It’s Picasso’: social media platform to review nudity policy after blocking Montreal Museum of Fine...
Poland’s feminist ‘Bison Ladies’ storm the Japanese artist’s Warsaw exhibition in solidarity with longtime model Kaori’...
An art historian and leading Leonardo expert has cast doubt on the painting’s attribution
How will the Black Panther writer, known for his landmark critical assessments of race, take on the quintessential...
The dissident artist has posted a series of videos on Instagram documenting diggers demolishing his studio in the...
In further news: artists for Planned Parenthood; US court rules on Nazi-looted Cranachs; Munich’s Haus der Kunst...
A mother’s death, a father’s disinterest: Jean Frémon’s semi-factual biography of the artist captures a life beyond...
Jostling with its loud festival neighbours, the UK’s best attended annual visual art festival conducts a polyphonic...
It’s not clear who destroyed the project – part of the Liverpool Biennial – which names those who have died trying to...
Dating from 1949 to the early 1960s, the works which grace the stately home feel comfortable in the ostentatious pomp...
The disconnect between public museum programming and private hire couldn’t be starker – it’s time for the arts to...
In further news: Angela Gulbenkian sued over Kusama pumpkin; and Pussy Riot re-arrested immediately after release from...
With Art Week in town, a guide to the best exhibitions to see, from sonic surveillance to Ronnie van Hout’s showdown...
Moving between figuration and abstraction, the New York-based painter and teacher made work about in-between spaces and...
Trump’s State Department is more than 3 months late in announcing its national pavilion – testament to the chaos...
The continued dominance of UK-US writers makes a mockery of the Man Booker’s ‘global outlook’
The fashion photographer has been accused on Twitter of ripping off another artist – with both represented by the same...
Katharina Cibulka has stitched ‘As long as the art market is a boys’ club, I will be a feminist,’ across her alma mater...
The punk artists’s invasion of the pitch during the Croatia vs. France match reminded us what Russia’s new ‘normality’...
In further news: Brexit voters avoid arts; New York libraries’s culture pass unlocks museums; Grayson Perry-backed...
If artificial intelligence were ever to achieve sentience, could it feasibly produce art? (And would it be good?)
Nods to the game in World Cup celebrations show how dance has gone viral – but unwittingly instrumentalized for...
‘What is being exhibited at Manifesta, above all, is Palermo itself’
With the 12th edition of the itinerant European biennial opening in Palermo, what do local artists, curators and...
The curators seem set to ask, ‘how civilized is the world’s current state of affairs?’

On View

Latest Magazines

frieze magazine

April 2018

frieze magazine

May 2018

frieze magazine

June - August 2018