#Art­breaker

The lat­est crop of art grad­u­ate shows is about to open: here’s what to ex­pect

The Irish Times - Friday - The Ticket - - NEWS - Emily Long­worth

Carsten Höller launched his new par­tic­i­pa­tion ex­hi­bi­tion in Lon­don this week, and its dream-like ex­per­i­men­tal art se­quences will likely daz­zle and ir­ri­tate spec­ta­tors (above right). De­ci­sion is a show about gi­ant dice, rain­ing pills and men­tal dis­tress, where the de­ci­sions them­selves play only a sup­port­ing role tot he un­abashed whimsy. This is not to de­con­struct the es­sen­tial value of sup­ply­ing over­sized magic mush­room mo­biles to the adult pop­u­lace: there should be one in ev­ery city. But the show does re­vive the prop­a­ga­tion of mod­ern-art cliché pieces con­ve­niently in time for this week­end’s NCAD grad­u­ate ex­hi­bi­tion launch.

The an­nual de­grees hows from the var­i­ous art col­leges have a valu­able func­tion, but they also have a few peren­nial fea­tures. Here’s what to look out for while stroking your beard.

Ex­pect an abun­dance of wrecked fur­ni­ture and psychedel-ic homages. Aban­doned mat­tresses have had a per­ma­nent res­i­dency in Tate since Tracy Emin granted them cos­mopoli­tan sta­tus, so­much so that gallery cu­ra­tor snow use the col­lec­tive noun a pride of beds.

Dis­so­ci­ated doll parts and art fully dis­persed cig­a­rette butts are an ex­hi­bi­tion sta­ple, but don’t try the seat home un­less you have had some ba­sic train­ing in ret­ro­spec­tive semi­otics.

In tex­tiles, di­rect com­men­tary on gen­der roles will be rep­re­sented by the greater themes of 1980s glam and disco pants. Through­out all schools, de­lib­er­ately un­fin­ished pieces pro­vide an in­ves­tiga­tive anal­y­sis of heavy gar­gling, but they are not to be con­fused with fin­ished works, such as spot-lit blank can­vasses or va­cant spa­ces.

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