exhibitions: bend me, shape me, glue me - clear plastic sheets
Richard Deakin: The Gallery of the new world order, Liverpool's young British artists seem to have the knack for shaking things.
The current YBAs has been making noise for about 10 years, sticking dead sharks to our faces and continuing their love life.
But just before they arrived, a group that might be called a "bad generation --
In the early 1980 s, the boy sculptors left aside the orthodox ideas of Minimalism and Conceptualism.
All these serious steel cubes and solemn blocks were replaced by a torrent of cut
In the process of making new British sculptures, washing machines and old plastic toys represent an international force that cannot be ignored.
No longer young, some of them are now household names: Anthony golmley, creator of the Northern Angel; Anish Kapoor (
Not the person who cut the washing machine himself, but the early paint
The covered works are dazzled by their strong primary colors)
He turned the Hayward Gallery into a maze of visual skills that pleased a group of capable people;
In the yard of the Tate and the British Library, Bill woodroo scattered bronze books and baskets through the Duvin Gallery.
What happened to Richard Deakin?
He is a key figure in the group and won the Turner Award in 1987, but since the exhibition at the white church Gallery in 1988, his work has not had any important displays in the UK, although he has seen many people abroad.
But now Liverpool's Tate has filled the gap with his work he has created over the past 10 years.
Deacon is undoubtedly an excellent interior designer.
The first thing to see when entering the top --
The floor gallery is not a sculpture, but a screen.
It is always difficult for him to rearrange the house (1991)
Right inside the gallery entrance.
It was originally made as the installation of large drawings sealed with transparent corrugated plastic sheets for Krefeld Haus Lange Museum windows.
It's a kind of half here.
Visitors are welcome to the transparent corridor, which also partially hides sculptures in the distance.
Therefore, the audience's first experience of the exhibition is not one of a series of things, but an opening to enter the space --
Clever put forward a clever point of view.
Then the object, first of all, is arranged appropriately at the back and on both sides of the screen.
No matter how persistent the catalogue is, Deakin's writing is an important part of his work (
It is frustrating to be represented there by only two short essays from other writers)
In the end, we must be convinced that he made the goods.
Grouping on one side of the screen is an example of the art of others, a series of small works starting in 1982;
The other side is medium.
Size of personal work.
Only by their number can other people's artwork be fascinating.
Arrange them on the floor at will, they are made of daily necessities --
Brown paper, mesh fence, woven plastic packaging-
It is squeezed, stitched, cut, and hidden in interesting, yet modest, engaging, but unobtrusive form.
The product of intense and intelligent observation and clever reorganization is a pleasure for other people's artistic objects.
On the other side of the screen is a larger, more obvious "sculpture" work, abstract and elegant.
What is frustrating is that it is almost beautiful (1994)
In fact, it is really beautiful.
An interesting case merge
Like the shape of a wooden strip glued together with resin and flowing foam
Like the projection of transparent welded polycarbonate, the delicate and short back is like a cloud captured from the sky, nailed to the wooden stand.
Nothing is forbidden. 1994)
Like the theme, leaning against the wall, as if discarded by an careless turtle, it twisted freely and disappeared from the field of vision. Second Skin (1994)
In front of our eyes, a structure consisting of stacked interlocking cardboard segments seems to want to continue growing.
In the last room, overlooking the pier, due to the three huge pieces of La Orcon (1996), After (1998)
What makes me feel this way (1993)
, Each takes up the entire part of the gallery, devours the space, twisting as if it were just surrounded by white walls.
Their scale shows that it is immortal, but the way they are built
Hundreds of Thin steamed wooden strips are intricately bent, tied like giant woven baskets on the interlocking curve --
Instead, it seems to try to avoid any problems with weight or quality, but rather to fill them with light and air.
In this era of irony, Deacon could hardly fully accept the fact that he was so big, simple, and compelling --
Looking for things, full of energy, eager to take up space, and trying to destroy their vastness by letting us really see through them.
This unease is also evident in four strange collages --
Colorful photos of the empty sky, each with a small painting in the form of a sculpture, clumsily stuck in the center --
It seems a bit awkward to show up on the adjacent wall, trying to hint, hey, this kind of sculpture thing is really a bit of a joke. . .
Of course, this is not, he is the best when Dicken goes on.
In the gallery of La okang, a more common object sits in the opposite corner, and its height can almost pass through the skylight.
Made of aluminum, hit (1999)
It's a simple, silver, ball, about three-
The feet are high, a bit like the shape of the burger bread.
It may sound less promising, but it's blunt and self-contained
Confidence, hit is one of the most successful works on the show.
In an interview with Tate Liverpool director Lewis Biggs, it was a pleasure to see that Dicken intends to do more work in this kind of mediascale pieces.
Tired of taking up his big outdoor commission for about ten years, he returned to the studio --
The job he wants to do is to meet his own requirements, not the requirements of others.
This is a good sign.
Because Dicken may tend to deny the validity of the form of exploration for his own benefit, trying to give his work a political charge, for example, to name the present show "The new world order, it refers to the George Bush and the Gulf War, which is not necessary.
If this skill is taken away, the Deacon will be left to him as the rightful place of the former YBS, and he is far from changing the tradition of British sculpture, in fact, the official steps of Henry Moore and Barbara Hepworth follow closely, and their work can be seen on the floor below.
Deakin avoided the literary and Capple's deceit of Woodro and komley, hoping that he would continue to be the smart maker of serious, silent, important things, and that his work would be better for it.
New world order: Tate Gallery, Liverpool (0151 709 3223), to 16 May.