Subversive Spaces, Revisited

So back in February I wrote on the Subversive Spaces opening at the Whitworth Gallery, expressing my lukewarm reaction to the show and to the space. I stated in my previous post that I hoped to revisit the exhibition sans the opening night crowds and distractions, and I have finally had a chance to do precisely that. I was able to see the show again, as co-curater Sam Lackey took my coursemates and me around the exhibition, answering questions and offering explanations for the presence of certain pieces.

Indeed, having a curator show you around their own show makes the relationship between the pieces seem quite obvious, to be sure. My previous feelings of incoherence have been replaced by feelings of a hyper-coherence of sorts... Sam explained to us that the show has been in the works for over a decade, and one begins to question whether it was, in fact, too thought out. Certainly, not everyone can look at Bellmer and Mona Hatoum and see an immediate connection. 

Still, one of the main issues I had with the show was my lack of understanding for the presence of hysterical women, which is something I would like to retract whole-heartedly. Indeed, Sam's explanations seem plebeian to me now, as the connections between the hysterical woman and the domestic space appear so poignant. For instance, these pieces by Surrealist photographer Claude Cahun and contemporary installation artist Lucy Gunning:

Claude Cahun, 1932

Lucy Gunning, Still from Climbing Around My Room, 1994 video installation

Right? The domestic space as suffocating, as prison-- hence, hysteria. Clearly. One can, perhaps, see how this could be construed as subversive. In any case, the connection is quite obvious upon second glance.

Sam also made obvious that the show was broken into two parts: the private and public. In this way, the lack of cohesion between the two sides was intentional, as the private housed a more dramatic version of the surreal and the public took on a more playful sense for the surrealist flaneur. This was my favorite part of the show at the opening and remains my favorite part now, as the Surrealist notion of the outmoded fascinates me. I also feel this part of the exhibition lives up to the title of a 'subversive space' more than the previous, offering new views of familiar landscapes.

So, moral of the story, you need to go see this show. You have until 04 May, so no excuses, darlings. 

Subversive Spaces

Continuing the Surrealist trend from my last post, I ought to chat about my most recent gallery experience here in Manchester-land. A handful of my very favorite people in the Manc and I went to the opening for Subversive Spaces at the Whitworth Gallery last night. The show itself fell short of my expectations, as I found the pieces lacked harmony with one another. The concept of the show, bringing together historical Surrealist works with contemporary ones through the common subject of space, had the potential to make a very strong argument. Unfortunately, the connections between the two periods were a tad week and the show seemed a bit haphazard. 

Despite its fallbacks, the show wasn't all bad, as the pieces themselves were, in general, quite noteworthy. There were some interesting works by Dora Maar and Brassaï, as well as some spectacular urban scenes by the contemporary photographer Anna Gaskell. There was also a strange room devoted to hysteric women, which seemed a bit out of place considering the show's theme. An interesting and relevant subject, no doubt, but a stretch when relating it to the surreal quality of space.  

All in all, the show was sub-par. I would like to visit it again sometime this coming week, when there are fewer trendy hipsters crowding the galleries and polluting the space with pretentious jargon. That really is the worst part of gallery openings, I must say, as it really makes it difficult to get a complete sense of the show. Ah well, at least there was free champagne.

Afterwards, I went out with my aforementioned favorite people for a few drinks and political conversation that was a refreshing deviation from the world of art theory.  It was lovely and relaxing (although it did get a tad heated, as every good political discussion ought to). Love those kids, fo sho.

I'll leave you with a Mona Hatoum that was in the show...

Mona Hatoum, Marble Slicer, 2002

 

On second thought, perhaps the hysteric women were relevant after all. *Cough*