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REVIEW ANOTHER WORLD Impressive, if surprisingly straightforward, collection of surrealist works ●●●●●
For a source so rich in departures for radical flights of enquiry, this presentation of surrealist paintings, objects, journals and sculptures is alarmingly straightforward. By marrying a host of mesmerising works by the likes of Dali and Magritte to a linear, chronological presentation – flowing from Dada works of 1916 to the late surrealism of the 1940s – the pieces are situated within a world disillusioned by the destruction of the Great War, the devastating atrocities of civil war, a system of ethics that tolerates both extreme riches and extreme poverty, and a morality that so subverts sexual impulses as to drive humans to madness.
It’s the surrealist objects and sculptures that leave the greatest impact here, and while the chronological hang is understandable, one can’t help but feel that something a little more searching could have been done with the vast, impressive collection on show. Found objects such as Duchamp’s epochal porcelain urinal ‘Fountain’, Man Ray’s metronome ‘Indestructible Object’ and Conroy Maddox’s Cathy Wilkes-esque mannequin assemblage ‘The Cloak of Secrecy’, scream for comparison with contemporary practices. Meanwhile, a host of feminine-facing sculptures by Giacometti and Duchamp remain the most intriguing works on show. One senses a glimpse of a slightly more experimental mode of display
with the selected works on show in the Keiller Library. The room immerses the viewer both in piano music based on pieces performed at a Dada festival and a vast selection of books, periodicals, lithographs and ‘curiosities’ (surrealist objects of inspiration). While delivering a heightened sense of some of the movement’s key tenets – including the idea of automatism and the supremacy of the oneiric – this busy install does not go far enough in resolving common problems relating to the display of rare publications. The great influence and reach of this roaring movement upon European
culture has been unquantifiable, and so to try to conclude this survey with a room of works representing its legacy is a tough task. But you just can’t help but feel disappointed to be returned to familiar sculptures by Eduardo Paolozzi (and his permanently recreated studio). (Rosalie Doubal) ■ Dean Gallery, 624 6200, until 9 Jan, £7 (£5).
REVIEW PRINTS OF DARKNESS Playful compendium of new work exploring record cover art ●●●●●
If a record is the ultimate mass-produced multiple, the mainstream music industry’s demise has seen a reclaiming of vinyl as a bespoke medium whereby one work of art (musical) is packaged inside another (visual). This show lines up 13 responses to the idea of the album cover as an outlet in itself by artists knee-deep in DIY culture. Rather than go for a coffee table vibe, most reach for something more primitive. Malcy Duff’s warped cartoons find a natural home, while Tommy Crooks subverts the pastoral and Lee O’Connor captures a whiff of opium-den Victorian gothic. The punning of the show’s title is picked up, first by co-curator Norman Shaw with his European gothic horror comic art-influenced double-sided gatefold ‘Princess of Wails’, and in Mark Wallace’s ‘Lordin’ It’, which features an image of moustache-era Peter Mandelson looking like an icon from schlock Japanese gameshow Banzai!
Most are made on flat surfaces, and only Andy Wake’s fold-in diorama of Aleister Crowley and Duncan Marquiss’ gatefold sleeve deserve to be filed with the rarest of the rare. Vicki Bennett’s shadowy crooner in ‘In Dreams’ presages her lavishly packaged picture disc, ‘This Is Light Music’, a playful cut-up of pop ephemera. The second room is filled with album covers from Shaw’s own collection, part-shrine, part-record fair. And yes, there is a merchandise stall. (Neil Cooper) ■ Edinburgh Printmakers, 557 2479, until 4 Sep (not Sun/Mon), free.
78 THE LIST 5–12 Aug 2010
REVIEW SITTING & LOOKING Innovative group show offers comfortable, close examination of 21st- century objects ●●●●●
At first glance you might be forgiven for thinking you’d wandered into an upmarket furniture store. Upon closer inspection it becomes apparent that there are wonders here that far outweigh the trappings of consumerism. Taking a seat to peruse the first choice of exhibits in this innovative group show is a guilty pleasure, one that is far too infrequently offered in gallery spaces – to be seated allows a deeper consideration than simply drifting through.
The Vico Magistretti sofas are arranged in a homely fashion so that the viewer can best absorb the acrylic works of Ann Sutton and Gordon Baldwin’s ceramics, the only drawback being that it becomes incredibly difficult to get to your feet and leave this tranquil spot. It would be a shame, though, to miss the camera-less photographic works of Garry Fabian Miller as they bring a welcome splash of colour and escapism to the exhibition.
Interspersed throughout the space are Jim Partridge and Liz Walmsley’s instantly recognisable blackened oak seats, which are utilised as makeshift display cabinets for smaller works such as Nel Linnsen’s impressive and intricate paper jewellery collection and David Poston’s delicate metal-work. The placement of such pieces allows the viewer to perch in the immediate vicinity and make a very close examination without bending uncomfortably. (Miriam Sturdee) ■ Dovecot, 550 3660, until 4 Sep (not Sun), free.