The London Contemporary Orchestra at The Old Vic Tunnels

I first visited The Old Vic Tunnels last October to see an art exhibition based around Dante’s Inferno. The dark, dank and cavernous arches beneath Waterloo Station were a perfect location to exhibit art depicting the Nine Circles of Hell, adding an atmosphere that would otherwise have been lost in more conventional surroundings. It’s an amazing space in which to experience art of all kinds, and one of the key factors in our decision to see the London Contemporary Orchestra on Friday.

The LCO Soloists showcased new work by Jonathan Cole and Colin Alexander, which had been commissioned specially for the evening and the unusual surroundings. Other music included Catch by Thomas Adès, Morton Feldman’s The Violin in My Life 2 and works by Xenakis, John Woolrich and Laurence Crane. The evening was rounded off with an after-show led by experimental DJs Micachu and Shiva Feshareki…

… you know what? I can’t keep up the pretence any longer. As you’ve probably guessed, most of the text above was gathered from the official website for the evening. Now I’d like to tell you what actually happened.

What actually happened was that we paid £7.50 to get in and £18 for an awful bottle of wine. What assailed our ears was an abomination of non-music; random sounds which bore no relevance to each other. What staggered me the most was that the first act had a conductor! Unbelievable. We should have realised earlier on, given that the orchestra deemed themselves to be “contemporary”. Isn’t that just another word for shit?

Sorry, but I refuse to discuss it any further. Terrible, non-entertainment. Truly terrible.

The Naughty Chair

The original article In The Naughty Chair can be found on @Mooley’s website, Minx and Her Mind.

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Last Thursday I ventured out with my friend Adam [ed. that's me!] to see the preview of Doug Fosters in the Naughty Chair.

The last time I saw Doug’s art work was at the Old Vic tunnels Hells Half Acre exhibition where he produced  my favorite piece in the entire show called Herod’s Gate.

This was a video wall with the ever moving flames as seen in the picture. It was reflected in a pool of oil & had an interesting sounds played over the top. I was unable to pull myself away for quite some time & was less excited when I saw the much smaller just video version playing at Rathbone Place but it was again nice to view it once more.

We arrived quite early but still hit a small crowd waiting to go in to the small glass fronted building. As we walked in you could see a large iron box with peepholes in. Which on closer inspection was a video box showing a naked man and a woman in what looked like a tank. The women giving air to the man crouched at the bottom of the tank. Two peep holes one high and one low letting you see the action from differing perspectives. I loved this more than Adam and had a long discussion on the relationship the two people might have had.

The next piece was my favorite of the evening although I found it difficult to pick one as I liked most of what was on show but this was very cleverly done.

She was so real I was waiting for her to blink

Who thought two photographs, some clever lighting and some mirrors could create the brilliance that was the piece you can see above. Looking like something you may find in a hospital to hang up x rays Foster has used symmetry and mirrors to create a beautiful 3D effect. Once you put your face up to the mirrored pyramid in the middle she becomes real and so very lifelike before your eyes. So real I was waiting for her to blink.

Moving through to the next room picking & up a glass of complementary wine on the way I found myself in a dark room with a glass ceiling. In front of me was the Naughty Chair. A Chair made from scaffolding poles with brown leather straps attached at the forehead, legs, wrists amongst other places. It could look to some like a torture device with the video wall in front showing a film of water moving. Almost like water torture without the drip drip drip or maybe a homemade electric chair. To me it looked like a thing of pleasure I would want to give myself too. I sat in it although not strapped in. It was strangely comfortable & I longed to be able to sit in it naked. Maybe something to think about when my son moves out.

The Naughty Chair

When moving around the corner we found a strange apparatus on the wall. Something that would look at home in a Sci Fi movie.

It was a three part cushion with what can only be described as plumbing around it. It  looked creepy and I stood for a moment wondering what its purpose could be. It also had heart monitor pads attached & looked like an experimental table from an alien spaceship.

The video screen to our left showed many of these tables with naked people lying in them attached to the machine. Steam was seen coming from the pipes. The people seemed to be motionless and not breathing their eyes closed maybe sleeping. We saw them rotate round one at a time until we came to an empty table.

This one I presumed was waiting for me.

Doug Fosters Naughty Chair

I have decided not to show the video I took. As it is definitely worth going to see it for yourself  & I wouldn’t want to spoil it.

We moved on up the stairs. By this time it was packed and difficult to see some of the exhibits. There’s a  film of the gentleman passing himself in the corridor this was interesting but somehow i wanted more.In the next room there sits a iron box with a video screen at the bottom. Featuring four images of forever changing landscapes. This is completely mesmerising. It looked like a beautiful melting pot. I found myself watching other people looking at the video. It seemed like no one wanted to leave it and all who passed could but stand and stare.

What is this life if, full of care,
We have no time to stand and stare.
No time to stand beneath the boughs
And stare as long as sheep or cows.
No time to see, when woods we pass,
Where squirrels hide their nuts in grass.

Why not go stand and stare at Doug Fosters The Naughty Chair. Its a great way to spend a few hours.

You can find out more here:

www.lazinc.com

WWW.DOUGFOSTER.NET

It’s on from 21st January to 17th February, Tuesdays to Saturdays, 11am-7pm at 11 Rathbone Place, London,W1T 1HR.

Hell’s Half Acre

Nice to see you again

Nice to see you again at The Old Vic Tunnels

I thought I’d kick off the blog properly by drawing some of my favourite posts from the old blog into this one. I’m going to do a few rewrites and it’ll unfortunately mean that any comments previously made will have to remain archived on the old site. But never mind about that.

I’m going to kick off with my trip to the Hell’s Half Acre exhibition which took place between 12-17 October 2010. I wanted to open with this one because not only was it the first time I’d actually enjoyed looking at art, but because next week I’m once more off to an exhibition hosted by Lazarides. This time it was by invitation to a preview and so there should hopefully be plenty of free wine being distributed! I’ll be discussing that one once I’ve been.

For now I want to revisit Hell’s Half Acre. As I said, art had never really been my thing. I think that’s because I’ve always assumed that you should have to know about something in order to appreciate it. I’ve since learned that sometimes art can be appreciated for it’s presentation and how it makes you feel. And this exhibition invoked something a little darker in me.

Razor mouth

Razor-mouthed sculpture

Based on the allegorical tale of the nine circles of hell from Dante’s Inferno, the exhibition was held in the dark, damp and labyrinthesque Old Vic Tunnels beneath Waterloo Station. An absolutely perfect choice for such a display, which certainly wouldn’t have had anyway near the same impact in a clean, white, bog-standard gallery setting. It definitely needed the crumbling plaster on the walls, the dimmed lighting and the puddles forming from the leaking roof above to set everything off.

The art itself was a very eclectic mix, mirroring much the wildly varying settings in each of Dante’s circles. It was mostly good, but there were obviously a couple of duds as I’m sure there usually are at events like this, including the obvious representation of lust which seemed like a GCSE art student’s excuse for filming penises. The majority, however, certainly captured my interest.

Hypodermic disco ball

Hypodermic disco ball

The first was Doug Foster’s The Heretic’s Gate; a fiery, explosive video projected onto the wall in a darkened corner and perfectly reflected in a huge pool of oil on the floor below. It really gave the impression that we were all about to be swallowed up by the gates of Hell. Several minutes were spent mesmerised by the footage and it took quite a lot of effort to drag myself away. (Incidentally, this piece was also shown at a preview of In The Naughty Chair. For more information on that one, take a look at the article over on Minx and Her Mind).

Another particular favourite was the disco ball made from hypodermic needles, or rather Object Desire by Paul Insect. No idea why, but I had an overwhelming urge to hug it. Which would have really hurt.

Pigeon explosion

Pigeon explosion

There were 28 exhibits altogether, so I’m not going to go through each one individually. But I will just give one final mention to Blue Fever by Polly Morgan. Or as we renamed it, Pigeon Explosion. Because that’s exactly what it was. I’ve no idea what it represented; all I know is that I loved it.

There’s a book currently available relating to Hell’s Half Acre, which can be found over in The Outsider’s Store. I’ve ordered myself a copy and plan on picking it up whilst visiting Stanley Donwood’s exhibition next week at The Outsiders gallery. I really can’t wait.