Posts Tagged ‘Laura o’Neill’

Blackpaint 426 – Wishbones, Hair Gel, Bergman and Buttock

December 20, 2013

Bloomberg New Contemporaries at the ICA

Some interesting stuff to see, some of which I recognise from degree shows at Chelsea:

Martin van den Bos, paintings in acrylic, emulsion and pencil resembling putty grey images slightly reminiscent of de Kooning women in monochrome – one called “Pear shaped Woman”.  I like these, probably because they are old-fashioned Ab Ex type images.

Catherine Hughes does window frames, which lean against the wall, with fluorescent lights loosely attached to their sides, “curtains” made from large digital prints.

Laura O’ Neill, “Boney P”, a large sculpture roughly in the form of a wishbone with feet – again, rather recalling de Kooning.  Nothing like the Clamdiggers really, but made me think of them…

Lauren Cohen, “Lunchbox”, a great little animation, roughly drawn figures morphing into fruits etc,; I love roughness and texture in drawing and painting, would like to see the original stills for these.

Yves Scherer, a plaque of fake grass, thickened and erected with hair gel, under glass – why is that good?  Who knows?

Adam Hogarth, another animation, the memorable feature of which is a doll’s anus apparently addressing the audience…

Joanna Piotrowska, three photos from FROWST (?); really striking, especially the one of the two girls in similar dresses, one gazing frankly at the viewer with her boyish face.  Best thing on show.


There are a number of videos on show upstairs; the one I saw was by Fatma Busak, titled “Blessed are those who Come”, and shows a group of elderly Turkish men, grouped around a ruined temple (?) on the Turkish-Armenian border, so say the notes.  They are rather bemused by the attentions of a woman, her face veiled but her long black dress revealing a bare shoulder, who gives them each a piece of bread (although apparently it is a fast day) and cavorts around them as they discuss whether to stay there as asked and be filmed – or to go home.

In addition to the Bloomberg exhibition, there is a work by Zhang Enlai, who has done a painting which completely covers a large hall – you couldn’t call it a room, it’s more like a vault – and which consists of blue, green, cream, brown patches and smears of paint connected by lines and coils in an abstract pattern – or rather, no discernible pattern at all.  What interested me was that it looked great from outside the room, framed in the entrance; inside, it was rather underwhelming, although all-enveloping.


Ingmar Bergman’s famous film from 1966 featuring Bibi Andersson and Liv Ullmann; I sat watching it, predicting what would happen next – she’ll tear the photo in half, she’ll slap her face, she’ll step on the glass – then realised that this film was the origin of the cliches.  Anyway, seen it before, in 66 or 67, so I might even have buried memories.  You can’t miss the influence on Tarkovsky; the lingering close-ups on faces, the music, the landscape, the flashes of old film, the bits of newsreel…

Citizen Kane

Watched this again and was rather hard put to see why it is rated so highly by film buffs; great film, staggering set of Xanadu – but surely Vertov and Eisenstein and Gance were more technically innovative earlier.  I actually think Welles’ “The Trial” was more impressive.  Kane would be in my top 20, probably around 20.



Woman with Red Buttock



Happy Christmas to all readers who celebrate it.