Martin Boyce, Our Love is Like the Flowers, the Rain, the Sea and the Hours, Tramway, Glasgow, Until 19th January 2003.
Adrian Wiszniewski, Dream On, Glasgow Print Studio, Glasgow, Until 24th December 2002.
Boyce’s brooding installation of chain-link fencing, modern steel benches and wire bins currently fills the enormous hangar space at Glasgow’s Tramway. Bright white fluorescent strip lights are fashioned together to produce makeshift electric trees, warming the gallery with their crepuscular light. The calm is occasionally interrupted as the lights dim to allow a short video projection. Accompanied by an ambient looped guitar soundtrack by jazz musician Raymond Macdonald, the phrase ‘THIS PLACE IS DREAMING’ is slowly revealed and dissolved again.
Boyce psychologically transforms the space into a suburban swing park, a playground of adolescent leisure bathed in sodium lamplight. This is a dreaming space, it has an otherworldly quality. The bins that litter the gallery, like vector graphics, veer off awkwardly into space, loosing their shape. At the same time this installation is loaded with referents to the material world, influences that Boyce has reiterated in his work. Reds, yellows, blues, blacks and whites dominate, homage to the work of early 20th century Dutch art and design movement De Stijl. The installation equally resembles the kind of wire fenced nightclub you would expect to find in a cheesy eighties movie set in New York. Just imagine leather bound Mad Max Goths clawing at the wire as a fresh-faced brat packer enters gingerly. Think also of Duran Duran’s Wild Boys video without Simon Le Bonn’s streaked tresses. Boyce’s cues are personally taken from his youthful experiences of early 1980s design, particularly the motorway aesthetic spawned by Ben Kelly’s fabled Hacienda nightclub in Manchester, a look also inspired by 1920s modern design. Early eighties retro-futurism is the source of the show’s title, a line from New Order’s The Village, a romantic electro ditty from their classic 1983 album Power Corruption And Lies. This is a risky move; homages to New Order in contemporary art are as thick as Noel Gallagher these days, common populist props for a weak imagination. Boyce’s installation, thankfully, doesn’t fall into this category. It’s significant that he should pick the moment in New Order’s career when they felt it time to inject some passion into what had previously been a rather austere body of work. Boyce seems to be doing likewise, this being his most impressive and ambitious exhibition to date.
Over on the North side of the Clyde, Adrian Wiszniewski is exhibiting a body of recent works in a small solo show at the Glasgow Print Studio. Wiszniewski is, of course, one of a media-manufactured generation of figurative painters that Boyce and his peer group reacted against in the 1990s. Much has been said of the alleged split between these generations that has served to obscure recent Scottish art. While there may be no direct dialogue between these two artists, common concerns can be detected. Both men share a disdain for the cliché of the bohemian artist. Both are fabricators rather than conceptualists, producing exhibitions and objects that stir nostalgic dreamscapes and imaginative spaces. Each have particularly strong cultural connections with the early 80s romanticism. Wiszniewski was one of the original 80s New Romantics, a figure that author and critic Michael Bracewell has recently celebrated as an originator of the ‘Culture-Vulturing City Slickers’ anti-mode. There’s a common interest in the alleged failures of utopian modern architecture and design. Boyce strips down the work of designers such as Charles and Ray Eames while Wiszniewski creates camp architectural puns, producing An Explanation of the Holy Trinity in the Form of a Chair, a modern three-legged bentwood classic. There has even been the odd point of direct contact, Wiszniewski’s wallpaper School of Linden – a pattern of linden leaves repeated to resemble a shoal of fish – having originally been exhibited at Glasgow’s Centre for Contemporary Art in 1996 alongside a wallpaper design by Boyce based on the opening titles of Hitchcock’s North by Northwest. Wiszniewski’s chain of associations may have different sources and outcomes, but, like Boyce’s, they are specialist forms of knowledge. Wiszniewski’s wallpaper, for example, is an art joke, a pun on the ‘School of London’, R.B. Kitaj’s term for English figurative oil painters such as Lucien Freud and Frank Auerbach.
Important differences remain nevertheless. Wiszniewski’s approach is looser and less consistent, jumping from painting, to neon works, to carpet design, to writing Touching Cloth, a comedy-mystery-musical screenplay. Being a Renaissance man, Wiszniewski’s work is not as clearly structured as Boyce’s. At times, he is willing to wallow in reverie and wistfulness, painting, for example, a Sprite and a Genie. On the other hand, in his best paintings – Two Men at an Exhibition of Contemporary Urban Masks and Italian Popstar – Wiszniewski demonstrates an astonishing command over his world of wilting intellectual loafers and urban sophisticates, in addition to a keen mind for natty, original titles.
“Personally, I have always considered Richard Wilson to be the finest British landscape painter of the late eighteenth century”, quipped art historian David Hopkins. Judging by the audience, many turned up at the Talbot Rice expecting the sumptuous aristocratic trappings of Wilson’s idealised Italianate vistas. Instead, they were tackled by a Sim City of scratchy diagrams and homemade models mounted on shaky filing cabinets and rusty shelving. “I don’t belieeeve it!”, reverberated around the gallery, but no, it wasn’t that Richard Wilson either. This Richard Wilson is the one that made that monumental lake of recycled oil 20:50 (1987), now permanently installed at the Saatchi Gallery.
Touring Sheffield, Leeds, Edinburgh, Manchester, Warwick and London, Irons in the Fire should set a few people straight on Wilson. Far from being a one hit wonder,he has had an illustrious international career as a site-specific artist, from collaborating with the industrial sound sculpture group Bow Gamelan Ensemble in the eighties, to his current grand architectural visions. Wilson isn’t in the acrimonious business of trotting out permanent monuments primed for vandalism and a jumble of angry letters to the local rag. His experience with Bow Gamelan committed him to the transformation of everyday urban industrial detritus into rich metaphor. Wilson has a Zen like respect for materials and environment, making his work by taking things away, producing something from nothing. His best works are quintessentially nineties ambient interventions into the built environment, some so casual they might be mistaken for the work of vandals. PimlicoProposal for example, involves cutting and replacing circles of concrete and cladding from sections of wall and pavement on the short walk between Pimlico tube station and Tate Britain in Millbank. This whispering campaign subtly draws attention to the very fabric of the city, producing an understated trace of a trail blazed by thousands of tourists every week. Bronze Pole of the North (1995) for Tate Liverpool, is an unrealised proposal to cut a large pole through the gallery’s three floors into the bed of the Albert Dock. The pole would rise and fall according to the tide, confusing inside with outside and bringing the serenity of culture into conflict with the perfidiousness of nature.
Wilson’s romantic cross-examination of material culture seems to underlie this exhibition’s uneasy relationship with the museum, something we ought to expect from a practiced public artist. The Joint’s Jumping (1996-99) is an unrealised proposal for the BALTIC contemporary art space in Gateshead. Wilson planned to set the façade in motion by creating two templates of the former flourmill in orange neon, one placed skew-whiff over the other. By fluctuating between the two, this heavy industrial building would have a danced on the Tyne, a metaphor for the dynamic, metropolitan Kunsthalle culture represented by BALTIC and its many clones. BALTIC would thus have taken the appearance of a go-go bar, a sardonic comment on contemporary art’s status as a leisure industry and New Labour’s vision of ‘creative economies’? Perhaps Wilson’s work is unwittingly compliant with this frappe-drinking culture. “It works, but filing cabinets and Dexion shelving have become moribund media within the overly civilised western art milieu”, estimated artist Keith Farquhar. Farquhar has a point, trashy was certainly chic in art circles in the early 1990s, dressed-down industrial buildings being used for a flurry of artist led initiatives, but now it all looks a little rusty. The post-industrial aesthetic presently belongs to the establishment; think of Tate Modern, BALTIC and the Palais de Tokyo, Paris.
A further conundrum faces Wilson’s work, namely that is rarely designed for the gallery. Like much conceptual and land art of the 1960s in which it finds precedent, it exists here only as documentation. This could have lead to an absurd fetishising of the minutiae of Wilson’s working practice, consecrating his every mark and remark. Irons in the Fire, however, does an impressive job of representing the complex genesis of his work, utilising witty maquettes, sketchbooks, montages and DVD documentary footage. What saves this from becoming dreary is the amateurishness of the constructions. Wilson’s work has the charm and innocent invention epitomized by balsa kits, Meccano and Valerie Singleton’s sticky-back plastic, the ‘furniture’ cut from an IKEA catalogue in Tumbleroom (2001) being a high point.
Sittin’ on down, Old Paint is a little teacherish for his years, but he’s solid without taking himself for his own statue. A Brooklyn guy with 6 pairs of eyes and a heart that won’t lie, a little nasty beauty with a mounting, barking rhythm, he discovered himself in West Humanity in the country of Self. Gaunt, tall, GI-jacketed, Old Paint twanged out rich imagistic guitar in the New York coffee shops. He could afford to be hard and ironic, learned his wounds well, and some of the world’s dishonesty, while in New Jersey stir for 6 years on an armed robbery count. Is subtle as well as lavish. Shy as a shadow also, with a fiendish jollity rising up within the prison walls of his hard-earned loneliness and individuality. You rarely see the cat’s gleaming eyes behind his mother-loving sunglasses. Spooky-real Old Paint! Old Paint is the real thing. Once wanted to be a theoretical physicist but gave into the muse and began his very inside, real, stylish, lethal ultra, honest, terse, hurting in that way that counts. Jail in Frisco, fighting and dodging Arabs in Israel, getting pickled in Harlem. His pants are always three inches to short for his shoes – he’s awkward blue, but, as he’d say, he’s got a good sound. Proper isn’t bright with the bitter glitter of missile-age precocity. Old Paint could be tender, nutty, lyrical, when the mood mooded him. Way down shack town, Old Paint ‘s stuff runs like drunken faucet. Urchin looking, street-bred, his playing gives his living-room style the lie. Full of unexpectedness and unclassifiableness, off beat imagination to burn. A glitter of contradictions, closetful of skills, a dead-end kid commonsense. He’s honest about wanting the dollar and bitter in his appreciation of its Lordship. A flinty, sardonic wiseguy complete with brain. A nice guy with a touch of nasty.
Refusing to talk about his Commy past, he flirts with preciousness and never yields, sure sign that intelligence has pinned artifice to the mat, sure sign that we are witnessing the real stunning thing with this unusual kid. Knock-your-eye-out, he could play his way out of a locked trunk at the bottom of the Hudson River. Minority snipers think that if he brought a little Dreiserian holy corniess to his hipness he’d have it made. An extremely hard-working and probably demonic cat under some mighty slick icing. Best in short takes, he dazzles because of the unforced grotesqueness he shows in our hallucinatory beyond-Mars, cosy little modern world. His chords build like a storm. Skinny Girl Shoe Shine was cut with the cool eye of a rifleman; his second Skin Lowdown Buggy Ride Lover Gal never got the attention it should have; his last Poor Folk Gold Teeth almost didn’t because it was thought to be too dirty for even a dirty age. He stands in an odd relationship to the corner kids of his generation, more inner, older tireder. He has a gnarled maturity encased in a golden boy façade. He has the aware calculation of a deepsea diver; it could and might go deeper. Gentle, fidgety, huge-bearded, he still puts out a wild lick. Old Paint went back in jail for violating his parole – the poor sucker fell in love and got married, which is of course against Democracy’s penal laws. Preacher say his future is an X but his present is inspiringly real. He broke out in 92, and last heard was in Athens, jazzing, playing roulette, making a carnival out of this sweet mystery of life. In a modest way, Old Paint is a credit to the human race, a true lunar talent rising amongst the skyscrapers. His fever is that of thousands, but nobody of his age threw the sick room back at life as he did, and thus redeemed us as well as himself. Society’s fangs await his beautiful phantasmagorial songs, if only to insure their validity; but he who plays the atom age much have a price on his head. The stakes demand it. More power and joy to him.
Don’t be afraid if things seem difficult in the beginning. That’s only the initial impression. The important thing is not to retreat; you have to master yourself. Unlock that funky chaindance. Tension mars the prettiest face. Suit the action to the word. You know how hard it is for me to shake the disease that takes hold of my tongue.
Korbut Ware-Gore, 1980.
McKenzie, Lucy (1970s-) Artist. Born in former Strathclyde Region, Europe. Size: 1.76 m. Bigoted critics were swift to intimate that McKenzie painted a medal because Scots like subsidy. They do select at an early age and train. In 1980, amongst all the superior painting ladies bestowing habitual elegance was a cheeky looking girl in pigtails, doing the most fantastic stuff! McKenzie was 18 when she pulled into Dundee School of Art waving callously at her nut-mother-father and her then younger sister. She attracted attention with her medals and youthful enthusiasm. Yet her flagitious Germanist cousin had a special preference for make-up, always dressed for a Depeche Mode Night (1999). McKenzie began to care likewise intensively for her exterior. So Frankfurt Hochschule was The Danger in Jazz (2000), and she all psychedelic eyeliner, that, abominably, she was particularly noticeable. Peter Ueberroth, the man in charge of the 1984 Olympics, now believes that this painting was the pinnacle of pride for Los Angeles citizens. However, we must remember that factual and expressional apprehension will vary greatly, depending on experience.
Artists were influenced in some way by the Cold War, as students competed for a liebenswelt. McKenzie was interested anyway only in art instruction. With 4 years she was finally released, because it seemed with orange hairstyle too instruction she. Offering herself as scapegoat for Dundee’s collective guilt, McKenzie packed, short, decided suitcases, for Glasgow. Gallery Charisma gave her an opportunity, letting her sketch Was Guten? (1999). McKenzie turned now to the exact opposite, the East European jet set. Stadium Towers (1999) looked Nazi showpiece gigantic, giving less Olympic, more swastikas bedecking. Each success of a ‘McKenzie’ was welcomed as a victory for seductiveness. McKenzie’s ‘lightning wine bar’ painting Kultura (1999) – XIV Fifa World Cup’a’Culture – made for the first time, the press attentive. Not a painting with rose-pink Glitzer Livree, Rococo frill shirt or toupierter, Kultura was unemotional, analytical, almost regal in its deportment. At the Polish Eingangstuer Thronte, McKenzie knew no grace with unimaginative everyday life types and rejected them. Much against the principle that commanded that each artist is an amateur, McKenzie retorted: “Move out of my way it’s time to make it happen.”
McKenzie’s idea seemed to be inexhaustible. It constantly rooted in dusty costumes, lending a new lining, invariably occurring to the type with the thousand faces. With her hit paintings Olga and Big One, she was fanatically represented. With Untitled, a new mode developed – the ‘New Look’, gaining the sympathy of millions worldwide (accordingly making Untitled a household cognomen.) For many years, McKenzie led a secluded life in Glasgow, working as an artist, but she often felt bored. She claimed the Strathclyde authorities just ignored her after her retirement and she felt bitter.
Jordan Baseman, EF103 603, Cooper Gallery, Duncan of Jordanstone College of Art, Dundee. Until 23rd May 2o02
Salla Tykka, Cave, Tramway 2, Glasgow. Until 8th June 2002
Helsinki based Salla Tykka is one of a number of young Scando artists to have benefited from international exhibitions supported by the Nordic Institute for Contemporary Art in recent years. At Tramway she stages a trilogy of short films exploring the transition from childhood to maturity. ‘Thriller’ introduces the broken narrative following a young girl who trapped in a log cabin in a woodland archipelago. The soundtrack and running sequences are highly reminiscent of slasher flicks such as Friday the 13th and Halloween. The film ends with the girl shooting a sheep with a shotgun. ‘Lasso’ sees a teenage girl returning from a brisk jog in the country to a house. She rings the bell to enter but gets no reply. As she walks around to the rear entrance she spies a sweaty bare-chested boy through the window skipping energetically through a lasso. She is mesmerised and weeps openly as a rousing crescendo sounds, taken from Ennino Morricone’s classic soundtrack for Sergio Leone’s ‘Once Upon a Time in the West’. Heavily reminiscent of David Lynch movies and sci-fi, ‘Cave’ sees a mature woman entering a mine wherein she witnesses a group of men in working in overalls. She appears pensive and paralysed, as though she has discovered Scaramanga’s secret den. The men spot her in the darkness with a torchlight, but simply move on. Enigmatic subjectivity is the name of the game, Tykka trading heavily on metaphors of the forest and the cave as uncivilised, enchanted places in which people are subject to demonisation and animalistic sexuality. In each video the season constantly seems to be passing from winter into spring, another loaded reference to the transient cycle of life and the transition from innocence to knowledge. For some audiences, this is more Bet Lynch rather than David Lynch, Tykka’s overt seriousness and over reliance on film genre theory tipping her work towards the brink of cliché. It nevertheless has an obvious appeal to organisers of international art shows focused on a supposedly lost European humanism, and to audiences simply desperate for emotive art that might fill a gap created by flip contemporary culture. For those of a gothic disposition willing to make the leap and fill in the gaps, Tykka is an aromatic dish.
In Dundee, Philadelphia born one time Young British Artist Jordan Baseman also exhibits three video works, one of which is fortuitously titled ‘Thriller’. Baseman takes his cues from the mediated culture that informs Tykka’s work, but he is more willing to trade in irony and dark humour. Working with peripheral figures and places, Baseman’s videos raise similar issues of identity to Tykka’s work. He is nevertheless more focused on the split between the public and private self, an idea formulated by the mass media. The script of ‘Thriller’ is very obviously fashioned from fragments of a transcription of Martin Bashir’s interview with Michael Jackson. Baseman employs two young white female southern English actors to play the roles of Bashir and Jackson. The Jackson character earnestly yet unconvincingly answers questions regarding her ever whitening features, her nose job, childhood fame and how she came to gain the title ‘King of Pop’. The interview segments are punctuated by short blanks accompanied by excerpts of Jackson’s music, giving the film an upbeat vox pop feel. This flatness signals that superficiality is all pervasive. Do such interviews really penetrate the mask offered by stars such as Jackson to offer us home truths, or are such exposes really an excuse to make money from a willing public hooked on voyeurism? Are the interviewers really in control or are their questions used to the interviewee’s advantage? ‘Thriller’ is a fairly light-hearted take on the issue of whether we ever have a way of knowing or understanding what makes us different from one another. Baseman’s video works on the whole are a kind of striptease, revealing something but not everything. Like Tykka, he makes much use of the classic thriller tactics, leaving false trails and unresolved conflicts, prolonging the shelf life of his work by keeping his audience guessing.
Win Together Lose Together Play Together Stay Together
28 Leven Street, Tollcross, Edinburgh.
Edinburgh’s abysmal lack of independent artist initiatives has been confronted lately with discreet domestic organisations such as Magnifitat, Tag Team Experiment and a spattering of large group shows at The Roxy. Despite the best efforts of some, new galleries have nevertheless failed to emerge. A courageous group of recent Edinburgh College of Art graduates have at last temporarily beaten rabid property speculators to borrow an empty property from Alec Farquhar of Macbet bookmakers. Craig Coulthard, Ruth Ewan, Tommy Grace, Astrid Johnston, David MacLean, Cathy Stafford and Kate Owens have lived and worked closely together since graduating and are determined to remain, unlike many artists who flee the city for the laser lights of London, New York or Glasvegas. The Tollcross Clock seems to have been chiming last orders lately for the shambling nocturnal theatre district of Edinburgh. The impact of major supermarkets has encouraged closure of Tollcross’ long established fishmonger, florist and ice cream parlour in addition to a spate of dry cleaning and turf accountant fatalities. Bad news for the merchants of the gateway to the Old Town but good news for locally based artisans, inspired by an ardent love of its magnificent Baudelairean decay and united by an Epicurean sense of purpose. Motivated by the shelter of like-minded people ruled by friendship, their philosophy is clearly signalled by the exhibition title; these artists are not just playing to win, they are tackling success and failure communally. Their work is loosely connected by a utopian neo-romantic sensibility and a common interest in ritual, myth and heraldry. Coultard has painted a commanding series of defunct mediaeval heraldic shields used to represent the old Scottish counties before they opted for dreary corporate identities. Grace’s beautifully distressed ‘Paulus Group’ photoprint represents a quasi-Masonic checkerboard of Renaissance tiles disappearing infinitely into the painterly horizon. Using plastic beads and glue, MacLean conjures an intricate image of Christ playing dice, a blasphemous emblem of the triumph of chance over divination, and an excellent metaphor for the show as a whole. There isn’t one weak moment. The main draw, nevertheless, must be Owens’ ‘Divine Geometry’, a decorative window display made from unfashionable reformed potato snacks such as Mini Chips, Monster Munch, Space Raiders and Discos. Owens’ witty window dressing skills make her a formidable challenger to the baroque sensibilities of Laurence Llewellyn-Bowen. It’s good enough to eat.
Contemporary French art appears to be on the threshold of crisis, rudely awakened from bureaucratic slumber by the Right who, encouraging debate on museum privatisation, seek to revoke massive increases in state funding introduced in 1982. These attacks on cultural statism threaten French endorsement of the Euro Kunsthallen model, and may shift emphasis away from neo-conceptual practices. Additionally, Nicolas Bourriaud perceives a waning of critical spirit in French culture. Committed to the work of emerging artists, Bourriaud’s dressed-down Palais de Tokyo Site de Création Contemporaine may serve as a corrective. Equally, it could exasperate the problem by pampering the few peripheral French art practices that circumvent €urokunst. Siting an ‘alternative’ space in the 16th arrondissement is not an ironic gesture in the face of horizontal cultural coordination. To make matters worse, the Palais de Tokyo has been parading Parisian squat art; an alternative scene that has little to offer other than misplaced hippie sentiment and attendant expressionist relativism. Despite its faults, the inclusive approach of the Palais de Tokyo does at least suggest that ‘international profile’ can no longer be the only desirable cultural aspiration.
As such, the Musée d’Art Moderne’s concurrent solo exhibitions of Bertrand Lavier and Phillipe Parreno may amount to nothing more than nostalgia; Lavier being a major French figure of the 80s and Parreno, of the 90s. Lavier engages with the intersection between museological endgames and consumer culture. His concerns may be semiotic, but his work is primarily ironic and parasitic rather than erudite. Composition rouge, verte et jaune (1989) looks like a hard-edged abstract painting, but turns out to be a section of wooden sports floor. The semiotic implications of allegedly pure signifiers are probed only for the hollow applause of the converted. Such works are the cultural products of an 80s France that understood the role of museums. Knowing his place, Lavier found these desublimating puns endlessly amusing. A series of Relief-Peintures (1987-91) are constructed from portions of brightly coloured prefabricated building façades; Lothar (1999) is a pylon snapped off by France’s 1999 hurricane painted silver to resemble a Modernist steel sculpture. Only when Lavier leaves literalism and uncooked juxtapositions behind do his museological musings become worthwhile. Walt Disney Productions 1947-1984 – an arrangement of paintings and sculptures based on a cartoon of Mickey Mouse’s visit to a Modern art gallery – works on the level of the pun certainly, but it has awesome psychological force. This realisation of a virtual space is truly nauseating; green and yellow walls enclose bright biomorphic polyester resin sculptures, mobiles and silvery abstract cartoon cibachromes. Lavier’s recent cibachromes, Harcourt/Grévin (2002) unite the glamorous chiaroscuro developed by Harcourt photography studio in the 1930s with the gauche celebrity of the Musée Grévin wax museum. Taste apart, Harcourt and Grévin are equally accomplished mythologisers of Parisian cliché. By photographing waxworks of contemporary figures such as Vladimir Putin and Arnold Schwarzenegger in the now unfashionable Harcourt style, Lavier not only mocks the epochal pretensions of such individuals, but pricks at the heart of representation’s canonising power. More pressingly, Lavier prophesises the avaricious populism that we might expect if French museums are privatised.
Parreno, like Lavier, is respectful of the institution, taking just as great care to produce an exhibition grandiose in aspiration and solemn in tone. Parreno is also drawn to discordance and conflation. The opening work of the exhibition, his short 35mm time-lapse film of growing Norwegian vegetation El sueño de una cosa (2002), is projected onto a Robert Rauschenberg White Painting (1951) every 4 min.33Secs. (John Cage, 1952). The long painful wait through Cage’s music while staring at Rauschenberg’s equally uneventful monochrome is finally rewarded with breakneck rendition of genesis. Parreno here appropriates time and space rather than material culture, he does not use objects but memories, collective hallucinations, ‘the dream of a thing.’ In this way he avoids Lavier’s cynicism, circumventing vulgar materialist questions that museological art tends to raise verbatim, focusing instead on the structures of feeling that permeate culture as a whole. Parreno’s vision of the world is more nuanced, fragmented and estranged since he has faith in the ability of the imagination and our biochemical selves to reconstruct semiotic and spatial relationships. Alien Seasons (2002) a video projection of a cuttlefish camouflaging itself by changing colour to match its surroundings can be read as a metaphor for the means of subterfuge by which Parreno leads his audience into an alien environment constructed according to his wishes. The show’s final work Crédits (1999), extends this metaphor to a false dénouement. A collection of coloured plastic bags hang from a tree planted in waste ground near a 1970s housing project. The luminous bags filmed under relentlessly changing lighting conditions, flutter in the wind and rain to the accompaniment of electric guitar by ACDC’s Angus Young. The sound, lighting and mise-en-scène continuously alter our reading of the video: extra-terrestrial, utopian, haunted, grunge, dystopian, stage-set, children’s game. Blaming the government for France’s allegedly low international profile may not be the solution, for such exhibitions, like life, are movies without cameras, and such movies have no directors.