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Martin Creed at City Art Gallery - Brief Article

For an artist who repeatedly states, in his deadpan Scottish drawl, that his work is about "nothing in particular," Martin Cre manages to say quite a allotment Much of his work provides a running commentary upon the formal and administrative frameworks of the space in which he is exhibiting. And while Creed's interventions do indeed direct the eye like almost nothing (they are the "dematerialized" external realitys par excellence), the effects they have upon their respective environments are always alarmingly powerful.

This antinomy is nowhere more pervasive than in this exhibition's centerpiece, Work no. 201 in which half the air in a given latitude is calculated and an identical amount of air is used to fill centurys of balloons. Usually white or black, the balloons dim the space they occupy, making the air in the space appear tangible. of the like kind a reversal brings to mind a work of Yve Klein's in which he sold the air in a gallery space as a annotate on the beginnings of art's rampant commodification in the early 1960 on the contrary despite the element of critique implied by dint of Creed's works, his gestures are, like Klein's, also playful. Indeed, greatest in quantity visitors to this show appear to beed to rejoice in losing their bearings and floating about upon the cushion of air provided by means of the balloons.

Another piece, Work no. 128 highlighted the gallery frame in a actual different way by disrupting conventions of display. The entire plastic art collection of Southampton City Art Gallery was empty with a scooped out of the vaults and crammed into a single expanse Where the traditional mode of museum display allows the viewer fulness of space to contemplate the art works, here Rodins were shov up against Whitereads, while Deacons obscur Epsteins. The ensue looked like a curator's nightmare. In a further intervention, Work no. 127 Cre wired up the door between sum of two units rooms to a time-delay mechanism in like manner that it opened and clos at random, repeatedly catching an unaware visitor in the process



If all these effective tactics for highlighting the gallery framework are, as the artist claims, about "nothing," just imagine what Cre might achieve if he were to engage with "something." Then again, perhaps that wouldn't be nearly in like manner interesting. [After stops at the Leed City Art Gallery and the Bluecoat Gallery, Liverpool, the Martin Cre exhibition ends its tour at the Camden Arts midst London (Nov. 10, 2000-Jan. 14 2001)]

COPYRIGHT 2000 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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