September 2010

Explore the Apollo archive

Look back over two vibrant years of Apollo: browse every issue from January 2006 to the present day.

On entering the exhibition dedicated (a little too late) to these two prominent female sculptors, almost tripping over Baghramian’s Türstopper (Door Stopper) is a good introduction. Though both artists work with seemingly contradictory materials and colour and have evidently opposing creative processes – one throws paint on crates and polystyrene whilst the other uses moulds and meticulously polished aluminium – their concern for carving up space and creating challenging new dialogues with rearrangements of art works seems something at the heart of both their practice.

Nairy Baghramian is an Iranian, Berlin based artist whose work sits on the fence between minimalist design and ‘art-with-a-function’. Her titles allude to such: Rednerpult (Lectern), Aufsicht (Invigilator) and Londoner Türsteher (London Bouncer). The beauty of this tension is perfectly played out in the West Gallery and Ear. Here she presents several slick, anamorphic sculptures as part of Klassentreffen (Class Reunion). Each has its own character and, though they might looks like a series of walking aids and lampshades, being in the heart of Kensington Gardens, they also echo the shapes of swans, geese, crows and even a flamingo, in addition to the ‘old birds’ they were intended to depict.

Phyllida Barlow, a British institution in her own right – the first female professor of the Slade School of Fine Art and visiting lecturer of the Royal College of Art – exhibits her familiar rough and ready work. Titled both humourously and appropriately, Untitled: wall blob; Untitled: ramp/drums; Untitled: crushed box 1, serve to demonstrate why this artist has been so revered and emulated by her following of pupils throughout the years. Each sculpture has been attacked by the artist be it with tape or paint. Completely unforgiving, she leaves edges and materials open to scrutiny, so her energy and process are evident throughout the exhibition. Though it feels as if the ‘mess’ within the work is occasionally contrived, the subtle layering of materials, particularly in Untitled: hive, and clever hanging, leaves no doubt that her recycled approach to production and curating are as considered and provoking as ever.

Presenting Baghramian and Barlow together was not an obvious choice. There is still some doubt in my mind whether this compromises the overdue respect each career deserves, but the apparent collaborative installation is successful. Neither artist’s work hinders the other, and where it occasionally crosses paths in the adjoining areas of the gallery, it even serves as a complementary platform from which you can view the other with fresh eyes.

'Nairy Baghramain and Phyllida Barlow', 8 May-13 June, Serpentine Gallery, London.

www.serpentinegallery.org
 

   Previous Back to Muse   Next 

ShareThis  |   Print this article  |   Subscription offers  |   Comment