- Venue
- Hayward Gallery
- Location
- London
The British art show offers visitors an intriguing spectrum of contemporary art every five years, touring four countries. Thirty nine artists seems a huge array of work that for one exhibition becomes intimidating. However, curatorial use of generous and interesting space makes the exhibition exciting, at times bewildering but never intimidating. Curator Tom Morton remarked upon the freedom of choice with how the visitor navigates the space, that there is no ‘right room’ from which to start. I was struck by the unique and open layout that gave the show an edge in terms of the holistic experience. The video installation by Nathanial Mellor offered a refreshingly funny yet dark look at bohemian lifestyles, the remark ‘books are experiences prostituted’ showcases the funny and astute references to modern culture that resonated throughout the whole exhibition. Roger Hiorns’ installation was striking and temporal, on entering the room the viewer is greeted by a lone bench, a bench with fire at one end or in some cases, this fire being tended and contemplated by a nude man. The living nature of the work creates an unpredictable and timely piece that speaks all too well of the human condition – base fire and nudity and the superego ability to contemplate. The range of works from sculpture, installation, video and static work offered a richly diverse glance at British art today, leaving the viewers to make up their minds about the brilliantly spasmodically arranged work. Too often national shows offer a concentrated narrative of obvious, well renowned artists and prescribed cultural readings for the viewer. On the contrary this exhibition kept poetic descriptions and emotive biographies to the bare minimum, and refreshingly, let the art do all the talking.
