September 2008 – Page 8 – { feuilleton }

Roger Hiorns’ crystal world

A visitor examining Seizure. Photograph by Sarah Lee.

I’d love to see this installation work which opened on Wednesday at 157 Harper Road, Southwark, London. British artist Roger Hiorns has transformed a flat awaiting demolition by growing thick mats of copper sulphate crystals on all the interior surfaces, a work he calls Seizure. Copper sulphate always brings back memories of chemistry lessons at school and childhood chemistry sets. I recall growing the crystals in a test tube but such meagre attempts at efflorescence give little indication of how beautiful these things are at a larger scale. Happily Flickr has further documentation of Hiorns’ work while Adrian Searle reviews it for The Guardian, fittingly referencing JG Ballard’s The Crystal World. “Seizure is a sort of sci-fi nightmare in Southwark, and that this happens in a council flat makes it all the more uncanny and disturbing,” he says. A shame, then, that it wasn’t situated in an empty high-rise block for maximum Ballard overload.

Seizure runs until 2 November, 2008. Artangel has location details and opening times.

Previously on { feuilleton }
• JG Ballard book covers

Reasons To Be Cheerful, part 2

Four Hawkwind badges and a Nik Turner badge based on designs by Barney Bubbles. From the Coulthart archives.

Readers who’ve been waiting for Reasons To Be Cheerful, Paul Gorman‘s landmark study of the life and work of artist and designer Barney Bubbles, may like to know that Paul was in touch today with the suggestion that some pages of the book be previewed here closer to the release date on November 7th. I’d be more than happy for that, of course, so thought I’d mention it now in order to whet the appetite. As mentioned earlier, the book is published by Adelita and its launch will be accompanied by an exhibition at London Print Studio opening on October 23rd. Watch, as the saying goes, this space.

Also this week, Yvonne at Nemeton picked { feuilleton } as one of her nominations for the I Love Your Blog award. While I’m going to sidestep the difficult choice of having to pass the award on (which would require nominating a new group of people) I can at least add Nemeton—described as “musings on philosophy, politics, mysticism, geeky stuff, literature, news and ideas”—to the blogroll. Thanks Yvonne!

Previously on { feuilleton }
• Arte y pico award
• Reasons To Be Cheerful: the Barney Bubbles revival
• Barney Bubbles: artist and designer

Anamorphosis by Felice Varini

Huite rectangles (2007).

Amazing architectural redecoration by Swiss artist Felice Varini.

Previously on { feuilleton }
• Abelardo Morell’s camera obscura

Matthew Bourne’s Dorian Gray

Dorian (Richard Winsor) photographed by Bill Cooper.

Matthew Bourne‘s new dance version of Dorian Gray opens today at the Sadler’s Wells Theatre, London, and I’d have been interested in this production even without visions like the ones above and below; the eye candy merely adds an additional frisson and, let’s face it, there’s always been an erotic component to dance and ballet however high-minded the intention. Bourne famously gave the world the a Swan Lake with male swans and in Dorian Gray updates Wilde in a very contemporary manner (following Will Self’s Dorian: An Imitation and Duncan Roy’s recent film adaptation) with the gay subtext made an overt text.

Set in the image-obsessed world of contemporary art and politics, Matthew Bourne’s ‘black fairy tale’ tells the story of an exceptionally alluring young man who makes a pact with the devil. Amongst London’s beautiful people, Dorian Gray is the ‘It Boy’ – an icon of beauty and truth in an increasingly ugly world.

The destructive power of beauty, the blind pursuit of pleasure and the darkness and corruption that lie beneath the charming façade; the themes behind Oscar Wilde’s cautionary tale have never been more timely.

Richard Winsor again, photographed by Murdo Macleod.

Dorian Gray continues the gender-reversals with Lord Henry becoming Lady H, while Sybil Vane is transmuted to Cyril. I like the stage design detail where the customary nightclub glitterball becomes a version of Damien Hirst’s diamond-encrusted human skull, the expensive artworld bauble finding its own level at last as a piece of decoration. Updating stories in this way often provokes a feeling of ambivalence—removing the subtext can have the effect of diluting the tension which lies at the heart of the work—but the continual refashioning of Wilde’s fable has confirmed its status as a contemporary myth, something I’m sure he’d be very pleased about. In that respect, it gives the creator the immortality through art which his creation, in the closing pages of the story, is denied.

• Because Wilde’s worth it | Matthew Bourne discusses the production
• Review in The Independent
• Bill Cooper’s production photos
• Wilde at heart: Matthew Bourne’s Dorian Gray | Another photo gallery

Elsewhere on { feuilleton }
• The Oscar Wilde archive

…

Apologies (again!) for last night’s outage. This time my webhost neglected to tell me the database was being moved which means WordPress ground to a halt. I haven’t checked but I think a couple of recent comments may have been lost in the confusion. Very aggravating in a “What am I paying more money for?” sense. On the plus side, last night’s post, written before the collapse, wasn’t lost as I expected, so it should follow immediately after this.