Nods to some ingenious medicine aside, this show seems hell-bent on convincing visitors that “nature” is a state of perpetual, terrible and gruesome conflict, and that – if your environmental competitors have their way – your whole lived experience is going to be filled with excruciating pain.
Some animals are so familiar, we barely see them. If we think of them at all, we categorise them according to their role in our lives: as pests or food; as unthinking labourers or toy versions of ourselves. If we looked at them as animals – non-human companions riding with us on our single Earth – what would we make of them? Have we raised loyal subjects, or hapless victims, or monsters?
Some of the best pieces here are the most direct. In a riposte to the usual cock-and-balls graffiti found in public toilets, the Hotham Street Ladies have decorated the walls of the gallery’s gents with menstruating uteruses made of icing sugar and sweets.
The rule used to be that if you wanted to study something you went out and shot it: the rifle was as much part of your kit as your magnifying glass. The Maoris of Polynesia, aware of the value Western visitors put on souvenirs, used to catch people, tattoo their faces, decapitate them and sell their heads to collectors. The draughtsman aboard Charles Darwin’s ship the Beagle had a travel box lined with the tattooed skin of dead Maori warriors.
Above the exhibits in the first room of Hello, Robot, a large sign asks: “Have you ever met a robot?” Easy enough. But the questions keep on coming, and by the end of the exhibition, we’re definitely not in Kansas any more: “Do you believe in the death and rebirth of things?”; “Do you want to become better than nature intended?”
The basic chemical and structural components of vision existed long before it evolved. Something happened to make eyes viable, although the exact nature of that innovation remains mysterious. But once visual information meant something, there was no stopping it – or life. For with vision comes locomotion, predation, complex behaviour, and, ultimately, consciousness. for New Scientist, 3 August, 2016
Karen Kramer: The eye that articulates belongs on land
The Fukushima power plant offered us “a false promise of dominion” apparently – a formulation I’m sure to recall next time I turn on a kettle for a cuppa – before Nature Wrought Her Terrible Judgement. for New Scientist, 16 March 2016.
The sculpture is both a salute to the gallery’s reopening after a two-year renovation, and an evocation of how, even when we try to tread lightly over Earth, we can’t resist a spot of weird tinkering. for New Scientist, 27 January 2016
‘Disrobe’ (2013). Image ripped shamelessly from http://www.lissongallery.com/
That, anyway, was the provocative start to my interview with Anish Kapoor the other day. He’s got a terrifying new show on at Lisson Gallery in London, all blood and sinew (well, latex…). Comparisons with Bacon are inevitable, though he says there’s something hysterical about Bacon’s work which he’s not entirely easy with.