Review
Louis: scumo: SWIMMING AID Talbot Rice Gallery. Edinburgh, until Sat 7 May 00.
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Half-light (1998) by Carey Young
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'B'E’HINDI'CLOSED DOORS DCA, Dundee, until Sun 1 May «on
Behind Closed Doors is not, perhaps, the most welcoming of exhibitions — it‘s a largely monochrome affair, with an archival tone. But, once inside, a subtle, slow-burning warmth takes over, as our tangled relationship with the built environment is investigated, confronted and revealed.
Curator Katrina Brown begins with Hans Haacke and Dan Graham, unfurling a thread from their work in the 605 and 705 to present practice. Haacke’s ‘Shapolsky et al.‘, a polemic in photographs and text aimed at the titular ‘New York slum landlord‘, is antecedent to work by Vangelis Vlahos. The latter‘s ‘New Markets Require New Structures”, card models of skyscrapers paired with statistics, suffers from its proximity to Haacke, but in picking up the documentary baton, Vlahos recovers ground with his examination of the 1966 rocket attack on the US embassy in Athens. Dan Graham's legacy, meanwhile, becomes entwined with Haacke's in Sean Snyder’s survey of ‘Kadena Air Base‘, mixing Graham’s exploration of the socio-cultural impact of architectural aesthetics with a splash of Haacke's campaigning zeal.
The fizzing connections continue with a series of stand-offs. Monica Bonvicini‘s smashed glass and chain-link monolith, “Stonewall 3‘, stares down Amelie von Wulffen's meditative painted collages, which lie quietly in the gap between the memory and experience. Next comes Jane and Louise Wilson‘s ‘Monument’, a study of the re- purposing of Victor Passmore’s modernist masterpiece, ‘Apollo Pavillion', as local kids turn the structure into a climbing frame. This unexpected play matches the playful tenor of Hikari Sawa’s animations, in which kitchen utensils parade on little legs, and aeroplanes fly through domestic doorways. Then Candida Hoefer flatly records lavish, unpeopled rooms in a baroque castle, engaging in a call-and-response with the yellow peril of the Wilsons’ ‘Safe Light‘ series, both undercut by Bonvincini’s hastily spraypainted insistence that ‘Architecture is the ultimate erotic act'.
Behind Closed Doors has its own clear internal logic, presenting a series of inter-connections and confrontations that teasineg suggest a possible solution to the mysteries of human interaction with human-built structures; but inevitably, the show leaves more questions in its wake than answers. (Jack Mottram)
THE LIST 103