Visual art exhibitions and events with a platform for critical writing
The Lowry, Salford Quays
25 September – 2 January
Reviewed by: David Mackintosh
In 2003 there was ‘Thermo 03’, the first selling show at the Lowry, and a veritable free-for-all with what seemed like every artist in Manchester (apart from those more discerning) in it. It made no sense and I doubt if anyone made any money apart from Liam Spencer, and he’d already had a sell-out show a few months earlier. Now there is ‘Thermo 04’, and thankfully this is a different animal altogether.
‘Thermo 04’ is not a curated show; the Lowry asked a number of artist-run galleries to independently nominate artists. Nine artists were put in the show ‘Tripping Over a Varicoloured Tangle of Wires’. This is accompanied by a multiples section which is very much like all other multiples sections; however it is used here as press spin, as one of the nominating galleries has Turner Prize winners and nominees in its box set. On approaching this show, you could be forgiven for thinking at first glance that it’s based around squares: square cheese slices, square boxes, woven pixels, square paintings, geometric drawings and what might be a reconfigured square sheet of plywood. However, as the title suggests, the Thermo shows are meant to test the temperature of the art world and this show doesn’t do a bad job.
Ian Gonczarow’s monumental red and white stencilled paintings (one red and one white) make an interesting connection between the decorative and politically loaded symbolism: the red, communist Russia, and the white, Romanoff Russia. Also taking on an imperialist theme (though more accidental), Peter Kerrigan’s Swept Across Europe is a lovely fragmented found cross section of history. Made by typing the phrase into Google, the resulting jumble of texts encompasses at least 500 years of European history. Lorna Macintyre’s quiet reconfigurations also peel back layers of history. Reminiscent of taking the frame off a flea market picture and finding a newspaper from 1939, the work seemed deeper than most of the other work and sits a little uncomfortably because of that.
Rupert Norfolk exhibited three works on the floor. Beautifully made, Leaves gives away the reality behind a sheet of plywood, like seeing a lamb on the label of a pre-packed chop. A rug with both woven and real creases and three iron girders with painted shadows are also suggestive of disguised reality. Kate Owens’ cheese mosaic was reminiscent of the lickable wall in Charlie and the Chocolate Factory; people squinted at the cheese pillar wondering if it concealed a hidden image. Her screen, made from squares cut out of crisp packets, suggested its building was some sort of penance for eating too much.
A favourite work was Lee Patterson’s wonderful musical egg slices, singing under gusts from tiny electric motors. Their impact however could have been increased had they been in a room on their own. Eloise Rowley’s railing drawings take you back to a time when motorways went straight through city centres; they seemed to represent restriction or being penned in. Babak Ghazi’s reworked advertising is a bit pretty and quick, and in no way a critique of the fashion industry – you could imagine Gucci going for these in a big way. There are a few too many versions of the same work; it would have been good to see other works. Lan Tuazon’s photographic portraits were let down by the finish on the accompanying sculptures.
Separate from the main show, the multiples make for a good rummage, particularly the Embassy box set. However, don’t be swayed by the names and make sure you see the main show proper, perhaps some of the famous names of the future.
Writer detail:
David Mackintosh, Amy Marshall, Carol London, Jo-Anne Thornton and Nicola Martin, University of Central Lancashire.
Venue detail:
Lowry Centre
The Lowry Centre Ltd, Pier 8, Salford Quays, SALFORD M50 3AZ
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