On May 1st, Richard Guest & I visited Mark Wallinger’s show ID at Hauser & Wirth London W1. Afterwards, we discussed the show by email. The following is the result of several weeks’ electronic toing and froing. Here is Part Two – you can read Part One here.
My accidental version of Shadow Walker in Lisson Grove – the twins in the camo trousers I was surreptitiously trying to photograph cropped off at the head!
David: Ever Since and Shadow Walker left me pretty cold I have to say, but there are a couple of things that make me scratch my head. Shadow Walker is on a screen resting on the floor, leaning against the wall. It was shot on a phone of some sort I think, it is very poor quality footage anyway, and it’s vertical). Ever Since is the reverse – very high quality and projected directly onto the wall. Leaning stuff has been everywhere recently..so maybe I am tired of it, but is the slipshod presentation of Shadow Walker a little studied – do you really feel any spontaneity looking at it or is Wallinger tying to be too clever by juxtaposing all these disparate idioms?
As soon as we move into the North Gallery we are (if we had been going round the right way) greeted by Ego which is a pair of peeling inkjet prints ‘shot on an iPhone’ we are told. They are stuck on the wall any old how, with blu-tac or similar it looked like. Again there is a massive and deliberate contrast between this and the standardised size of the Id paintings which seem to have the correct production values for H&W. Does this contrast work for you, and does it seem to be a clue to unlocking Wallinger’s approach?
Ego – Gallery tour in progress…we hung back.
Richard: Wallinger could be trying to be too clever, but I prefer to think he’s problem-solving, without regard to aesthetics – finding the most direct way to express what he wants to say and going with it (the resulting object is what it is, its aesthetic a part of the message). For me there’s a freshness to this show, which could not have been achieved if it had been all paintings or all videos (But in answer to your question, I don’t feel any spontaneity looking at Shadow Walker, more a wave of ennui crashing over me).
Yes, I think there is a clue in Ego to what Wallinger is doing. He is an artist, regardless of media or technique, who understands that everything he makes has an intrinsic aesthetic value, in part based on what it looks like and in part what that appearance “means”. (To a certain extent, I think he sends up his role as an artist) Ego, for example, would mean something quite different had it been painted. He’s clearly alluding to Michaelangelo’s Sistine Chapel (and possibly the opening title sequence of The South Bank Show), but the image was made in the quickest way possible and reproduced without fuss. Ego carries an idea as much as any of the other work in the show, so its appearance may be lowly in comparison with the Id paintings, but its worth as a statement is equal. Do you like it as a work?
David: Honestly, it’s only because I am talking to you about it that I have even stopped to think about it. It is not just ephemeral but scruffy…slapdash and proud. You are completely right I think to suggest that the method of production is integral to the meaning, but whether it really is produced without regard to ultimate aesthetic impact is hard to say. Outside the gallery context this work would just be two pieces of paper – within it, it feels like a deliberate old-school provocation. It is almost Dadaist in character and Wallinger must know that. It is the key work of the show I think, but I have difficulty with it . I am curious about its conception…but it seems to forestall my scepticism by referencing the most famous and sublime depiction of creation (and by implication artistic creation) while simultaneously seeming to disrespect it by casually presenting it as a second-hand experience.
Ego installation view …appropriately shot on a blurry phone.
It’s all a bit too cool for me. It is very far from the impulse that first drove a cave dweller to pick up a piece of burnt charcoal and draw a horse on the walls of a cave. It falls into the category of comment rather than expression. Problem solving is a very positive way of looking at it. For me it is part of a sub genre of critical commentary in an artistic medium. Is that unfair?
Richard: As far as Wallinger’s method is concerned, I’m not so sure it is that far removed from the Paleolithic decorating impulse – the cave dwellers would have used a quick and convenient method to convey their message, with the materials they had at hand, I think, without regard to aesthetics (because they were in the process of inventing them).
For me, Ego represents the shortest route from conception to creation in the show. It appears to be a joke, but it’s a complex one:
- Wallinger unfairly compares the craft of his work to that of Michaelangelo
- (whilst simultaneously daring the gallery to sell inkjet prints of photographs he took on his phone)
- and makes light of the fact that he has spent little time crafting the finished work (once he’d had the idea, he surrendered it to a mechanical means of production)
- he asks the question, “where do the ideas for my art come from?”
- and answers it, “from me and my accumulated knowledge of art” (both hands are his)
- and finally he invites the audience to laugh at the shoddiness (and cheek) of it all
- and asks, “have you got the guts to buy this?”
What I found really interesting about it as an image was that in it Wallinger has black dirt under his fingernails and the Id paintings are all black – does this suggest we can date Ego to the same period? Did he produce Ego in a creative rush after finishing a particularly satisfying Id painting (if so that makes his joke even funnier)? Do you think he achieved personal satisfaction from executing any of the Id paintings, or was his approach to them as conceptual and cool as it appears to have been with Ego?
David: That is as good an all round picture of how Ego functions as we are going to get, I think. But what it tells me is that if Mark Wallinger is anything to go by when we look around we no longer do it with our eyes, but with our iPhones; and what we see is not life in the raw, but a series of references – images quoted from the past. As if only by looking in the mirror of Michelangelo’s Creations can we correctly place our own. Our ability to directly experience things is compromised by our knowledge of art and our insatiable image capturing technology. There has been a Fall – a loss of innocence and there is no going back. This robs art of its primal power of redefining how you look at something on its own terms as if for the first time. It is always doing so as part of a network of critical references, and each work is merely an inflection of this ongoing critical environment. In a way it’s like the block chain security devised by Bitcoin where each transaction is recorded onto an ever-growing chain of verified transactions. If an incoming transaction does not have all the previous ones attached it will be rejected. Works of art in the critical canon have to absorb and reflect all previous works and critical positions: if they do not then they cannot be verified critically and cannot sit within the canon. They are in outer darkness critically and commercially. Meanwhile the critical canon becomes ever more bloated, unwieldy and impenetrable.
Read Part Three here