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Fortunately, Rachel Kneebone’s sculptures are wipe clean. An orgiastic sequence of porcelains replete with Kneebone’s trademark genital motifs make up White Cube’s latest offering; A writhing mass of dripping, Adidas Adizero Rose Dominate, interlacing, interlocking forms, convulsing with emulsion as limbs curl around limbs curl around limbs before melting into extended tendrils of silken phallus, distending, collapsing and mounting ever more, more, more…
Hmm they also look a little bit like birthday cakes.
But wait, maybe I’m missing the point, this show is about trauma, about dying about a grief so raw it tears one apart. It’s not about sex or celebration, no birthdays are to be feted here. Only the medium is celebrated, porcelain being one of the most difficult, slippery and downright awkward materials to work with, still somehow rendered to exquisitely impressive intricacy in the hands of the artist. And, this is where all cause for celebration ends. As the deep black walls indicate, the titles suggest (‘Eyes that look close at wounds themselves are wounded’, ‘As grave as the imagined as frivolous as the eternal’ and Mine heart is turned within me a collapsed figure’) and the show’s name Lamentations confirms this is designed as a sombre affair encompassing the subjects of death, loss and anguish– it appears there is no emotion that can’t be expressed in genitalia.
And, my what a lot of genitalia there are…I don’t think I’m the first visitor to be distracted from the themes. The figure of the flayed woman sat atop the central piece flings her head back in what is allegedly a silent scream, or is it? I don’t think I am the only visitor to recall Bernini’s Ecstasy of St Therese either. If you’ve seen this classic in Rome you may be aware of its tantalising duality and observed the divinity of St Therese’s ecstasy as somewhat suspect. She is indeed, one of Kneebone’s points of reference along with Rodin’s ‘Gates of Hell’ and Michelangelo’s ‘Pieta’. Their visual impetus clear beneath a heavy layer of glazed kitsch.
Upstairs the show continues with, adidas adizero rose dominate - 2012 spring orange,‘A Lover’s Discharge’, a set of what would appear to be working drawings, relatively clumsy in execution alongside the sleek production of the wall mounted ‘Shields’ that are more like anaemic Christmas wreaths. Another nod to the unwelcome hints of festivity repeatedly creeping into my visit.
Hell, may as well give into it…into the lusciously cascading appendages, adidas adizero rose dominate shoes, sliding, coaxing, beckoning inside, ever closer weaving and winding and sensuously caressing one upon the other, clutching, grasping towards their unknown ends again and again and again and…Oh. That was disappointing. Ignore my opening line. Like the discharged lover, like the surface of the porcelain itself, Lamentations leaves you cold.
Hmm they also look a little bit like birthday cakes.
But wait, maybe I’m missing the point, this show is about trauma, about dying about a grief so raw it tears one apart. It’s not about sex or celebration, no birthdays are to be feted here. Only the medium is celebrated, porcelain being one of the most difficult, slippery and downright awkward materials to work with, still somehow rendered to exquisitely impressive intricacy in the hands of the artist. And, this is where all cause for celebration ends. As the deep black walls indicate, the titles suggest (‘Eyes that look close at wounds themselves are wounded’, ‘As grave as the imagined as frivolous as the eternal’ and Mine heart is turned within me a collapsed figure’) and the show’s name Lamentations confirms this is designed as a sombre affair encompassing the subjects of death, loss and anguish– it appears there is no emotion that can’t be expressed in genitalia.
And, my what a lot of genitalia there are…I don’t think I’m the first visitor to be distracted from the themes. The figure of the flayed woman sat atop the central piece flings her head back in what is allegedly a silent scream, or is it? I don’t think I am the only visitor to recall Bernini’s Ecstasy of St Therese either. If you’ve seen this classic in Rome you may be aware of its tantalising duality and observed the divinity of St Therese’s ecstasy as somewhat suspect. She is indeed, one of Kneebone’s points of reference along with Rodin’s ‘Gates of Hell’ and Michelangelo’s ‘Pieta’. Their visual impetus clear beneath a heavy layer of glazed kitsch.
Upstairs the show continues with, adidas adizero rose dominate - 2012 spring orange,‘A Lover’s Discharge’, a set of what would appear to be working drawings, relatively clumsy in execution alongside the sleek production of the wall mounted ‘Shields’ that are more like anaemic Christmas wreaths. Another nod to the unwelcome hints of festivity repeatedly creeping into my visit.
Hell, may as well give into it…into the lusciously cascading appendages, adidas adizero rose dominate shoes, sliding, coaxing, beckoning inside, ever closer weaving and winding and sensuously caressing one upon the other, clutching, grasping towards their unknown ends again and again and again and…Oh. That was disappointing. Ignore my opening line. Like the discharged lover, like the surface of the porcelain itself, Lamentations leaves you cold.
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