Great to see some Jan Švankmajer films at Birmingham’s Ikon gallery this week. The Czech filmmaker’s work was being shown as part of the Behind the Curtain Festival, currently running up until tomorrow (29th November), so you’ll have to be quick! I only made it to the Jan Švankmajer films, but they were great.
When you watch a selection of Jan Švankmajer films, you can immediately identify the strong influence he’s cast over animation. There’s the obvious Terry Gilliam influences, but there’s also that cultural influence that, if you’re old enough, I guess, you can feel that quirky stop-motion influence in so much of children’s animations from the sixties onwards. And of course, if you do get a chance to see any of them (away from YouTube) then don’t be put off by the idea that they’re surrealist works. They much less po-faced and fun than you might imagine art-house animations could be. We all laughed.
Also, Ikon, please put aside some money for heating the place in the evenings.
Living in space? Hoverboards? Robot housekeepers? They can all go fuck themselves. The future is now and it’s throbbing centre is the crashing of visual cultures from comic shop to art gallery. I’d rather live in a time when you can move from Nostalgia and Comics store to Ikon gallery and experience the same questioning of contemporary society, than live in the past, when those two might have existed in separate worlds, never to meet. Oh, the future of now.
The recent exhibition of the work of Korean artist Lee Bul at Birmingham’s Ikon Gallery from 10 September — 9 November 2014, brought together a broad stroke of her work, tracing several concerns that appear to have emerged over time. It’s a sci-fi future-past that she explores, with the cybernetic enhancement of the human experience, whether directly through physical enhancement (she favours the donning of costumes, as opposed to the life-altering slice and tuck of Stelarc, for example) or through a consideration of the built environment. I found the references too sci-fi rich in the work, or maybe it is too ‘of the now’ to understand what the work is really saying about contemporary life, and to separate it from those references.
As a retrospective, the exhibition covers some real detail. You can trace the nodes along the journey from her earlier performance (where Bul wore the cyber-enhancement costumes) to the more recent cityscape sculptures. We get to see the concept art and the sketches, much as one would with a science-fiction movie, but I wasn’t able to find any documentary footage of her wearing the suits, which seemed a shame. Maybe they disappoint in the execution? The sketches meanwhile, are rich in potential.
All in though, to move from reading Judge Dredd to then see Lee Bul at Ikon is to be confronted with a view of the contemporary cityscape that must be true, just because they echo each other so closely, one might think. There were plenty of opportunities to reflect as the exhibition was packed with works. Somewhere, there are a lot of empty packing cases sitting ready for repackaging. In the exhibition write up, the curators suggest:
The sculptures reflect utopian architectural schemes of the early 20th century as well as architectural images of totalitarianism from Lee Bul’s experiences of military Korea.
Maquette for Mon grand recit 2005 is Adventure Time meets Sandman via Gulliver’s travels. Beautiful rich pinky flesh colours dripping across an imagined city. While elsewhere, there are scaffolding-encrusted works, hinting at a a city being broken down (to move to better climate?).
If Bul’s work seems like a beautifully wrapped gift from the future-past, to the now, then it’s a delicate glass ornament, broken in transit across time. Hinting at what could have been a breakthrough, but is more likely to cut you now.