Camden Arts Centre’s posthumous exhibition of Dieter Roth’s
work is headlined by his video diaries (Solo
Scenes, 1997-8). The room is filled with TV sets, stacked five-high on
simple wooden shelving units. The footage is at once banal and compelling. Roth
goes about his day-to-day life – eating, sleeping, working and using the toilet
– with a tragicomic circularity and lack of incident. His age is apparent, as
is our knowledge that this is the margin of his life; that he died making this
work somehow doesn’t seem incidental.
Dieter Roth, Flat Waste, 1975-6/1992 |
Other works in the show include a set of Roth’s tablemats (Tischmatten) hung on the wall like expressionist paintings and his installation Flat Waste (1975-6/1992). The tablemats are full of gratifying unconscious doodles and instinctive marks, perhaps drawn in a moment of impulse or when Roth was on the phone. Flat Waste is fastidious archive of a year’s worth of rubbish under 5mm thick, filed away in black ring binders. The objects are without implicit value, yet the size and density of the archive correlated with the act of the artist as collector provides a transformational weight.
Leaving Finchley Road, two stops on the Metropolitan line will
take you to Richard Saltoun, where three of Helen Chadwick’s Piss Flowers (1991-92) – sat on a bed of
grass once green, now brown and patchy – adorn the window of the gallery. The well
known flowers, pure and white and always surprisingly alluring, are plaster
casts taken from snow cavities produced by Chadwick and her husband’s piss.
They are a marvellous juxtaposition of form and process.
Helen Chadwick, Piss Flowers, 1992-3 |
Wander down from Noho to Soho, Frith Street Gallery on
Golden Square hosts Cornelia Parker’s current
exhibition; a show about a series of overlooked places and objects. Photographs
capture compositions of white-filler on prison walls before it can be (and will
be) painted over in bland magnolia (Prison
Wall Abstract (A Man Escaped), 2012 – 2013). In the corner of the gallery Unsettled (2012) is an assortment of wooden pieces found on the
streets of old Jerusalem. Here they lean casually against the gallery wall, or
at least, this is the impression given. They are in fact suspended just off the
floor and just off the wall by thin (at first invisible) wire. Other works in
the show include paving stone cracks, cast in black rubber, also hovering
eerily (Pavement Cracks (City of London), 2012). (For more on Parker's exhibition see Parker Portending.)
Cornelia Parker, Unsettled, 2012 |
Across Piccadilly and into Mayfair’s Thomas Dane Gallery,
which holds an exhibition of Michael Landy’s drawings. Landy is most famous for
his own personal Break Down (2001) in
which he systematically destroyed all of his possessions, and big machines,
seemingly intent on further destruction, fill many of the images on show.
Peppering the exhibition, however, are small and elegant etchings of weeds.
Spidery and tangled and rendered in exhaustive detail, they are exquisite and
engaging. Through their aesthetic value, and the lengthy scrutiny implied in
their formation, the etchings provide an honouring of the overlooked and
unwanted.
Michael Landy, Creeping Buttercup, 2002 |
Landy’s sensibility of providing value is the
opposite of Roth’s. His work is found in destruction not archiving, (although
of course all of Landy’s destroyed possessions were catalogued) and in observation
and imitation not preservation, yet the artists are not at odds. Through
different means all four of these artists apply a transformational eye to their
subject matter, initiating a re-examination of objects or substances with
little or no perceived value and an alchemical shift in discernable worth.
Whilst Chadwick turns waste into decorative sculpture, Parker takes casts of
the cracks to make you see the stones, using the suspension of the objects as
an otherworldly allegory of merit.
Dieter Roth
Camden Art Centre, London NW3
17 May - 14 July, 2013
Helen Chadwick
Richard Saltoun, London W1
20 May - 12 July
Cornelia Parker
Frith Street Gallery, London W1
7 June - 27 July
Michael Landy,
Thomas Dane, London SW1
5 June - 27 July
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