The Learned Pig

Art – Thinking – Nature – Writing

Tag: installation

  • Edge and Shift: Brighton Festival and HOUSE

    Edge and Shift: Brighton Festival and HOUSE

    Agnes Varda, the legendary eighty-six year-old Belgian filmmaker and artist, is putting the finishing touches to an installation. Towers of lurid plastic buckets and baskets, the pleasing wordplay of “Ping-Pong Tong Camping”, stained glass window panels of flip-flop frisbees, and the photo-puzzle of the Baccalaureate celebrations of naked boys on the beach: Varda’s new work…

  • Bitumen and Pork

    Bitumen and Pork

    Four busts and an image of creation. BITUMEN AND PORK was an installation to mark the post-performance cabaret of FEAST, a work by theatre company Clout at Battersea Arts Centre in 2014. The performance charted the gradual alienation of mankind through a framework of breakfast, lunch and dinner. The installation BITUMEN AND PORK was an…

  • A View from the Other Side

    A View from the Other Side

    Spot-lit in the cavernous darkness, a model of a city. A model city: monotone, empty, pure, with the pristine edges of laser-cut steel glinting under light. It sits in the centre of an oil-black moat. The whole is perched waist-high on a slowly rotating table. Like many architectural models, the piece feels both large and…

  • Lost in Fathoms

    Lost in Fathoms

    Stumbling dim across the surface of the earth: humanity. Our legacy not culture or religion or science, but ruin. Our lasting traces that of footprints, not brain waves. Is this what makes us unique? A geological force in our own right? Certainly this is the view announced in 2012 at the 34th International Geological Congress…

  • A Needle Walks into a Haystack

    A Needle Walks into a Haystack

    Sound carries. And it is the sounds of political and social unrest that offer one of the most interesting threads for navigating this year’s Liverpool Biennial – a constellation of exhibitions, events and curatorial side-shows grouped under the title, A Needle Walks into a Haystack. The Biennial’s greatest achievement is its power to make you…

  • What Was Once the Threshing Barn

    What Was Once the Threshing Barn

    Public/private, urban/rural, commercial/not-for-profit: it’s not like the waters between the two have ever been crystal clear, but now, with the opening in Somerset of the latest outpost of contemporary art giants Hauser & Wirth (London, Zurich, New York) the silt has been stirred up and it all seems just that little bit muddier than before….

  • The Story of a Single Rock

    The Story of a Single Rock

    Like many stories, this one begins with a rock, in fact one rock amongst many: the shifting shingle which geographically defines and continually redefines the salt marshes of Orford Ness. When contemporary artist Anya Gallaccio made her first trip to the shingle spit of the Ness, it was not the accidental sculptures of wire and…

  • Touching Wood

    Touching Wood

    Rarely do curators at large public museums co-ordinate concurrent exhibitions to complement each other. But by chance or design, the Museo de Arte Contemporáneo (MAC) in Santiago, Chile, is bucking the trend. Of the half-dozen or so solo exhibitions currently on show, there are three which share a common material interest: wood. They form, if…

  • Twelve-Fisted Boxing Caterpillar

    Twelve-Fisted Boxing Caterpillar

    On my way back from the gallery I took a train and experienced the usual flicker of annoyance when the conductor began speaking to us as if we were in a plane. He gave the estimated arrival time, pointed us to the safety notices, alerted us to any suspicious looking bags. It was the usual…

  • Arkhipelagos

    Arkhipelagos

    There is a sense of relief, upon leaving this exhibition, of being palpably bound up with pavement, sky and, a few short paces away, the murky heave and rush of the Thames with its welcome damp rising. A skeleton hull of a boat, displayed on the banks of the Thames, ghosts the space from which…

  • WOR(L)D(K) IN PROGRESS?

    WOR(L)D(K) IN PROGRESS?

    When I first walked in, I didn’t get it. The walls of the first gallery are covered in neon orange paper. Obviously this was done for effect, but what effect, other than mild visionary discomfort, I could not think. And there was a man in a chair. Not a real man in a chair (although…