Mark Leckey @ Cubitt 

23/07/17 GDLP

emoji summary: ⚡️🏗🔥

 

in Lynne Kouassi’s work at the Goldsmith’s MA degree show, i had a bit of a moment. in a small pale room behind everything, there was a smoothed out, discoloured tyre limp and folded in the centre of the floor looking like a snake-thing. There was an A4 piece of paper framed next to it that read ‘Please help her out if she feels dry,’ and there were spray bottles with greenish ‘water from the river’ dotted around that you could pick up 2 use on the tyre sculpture. On a wall, nice khaki wireless headphones were waiting. u could don them and hear some caressing elevator/jazzy music - and in doing so, something formal happened to me: I was inside, really not feeling like I was in a degree show. the installation created some gravity so that the tyre felt ~ more than a sculpture. instead it felt like a responsibility.

    It’s that headphones moment I want u to hold, because I’d got the the same satisfaction/entertainment/complicity from Mark Leckey’s show at Cubitt which i’d gone to the day before. Leckey had Eclipse of The Sun posters on one wall, heads of tungsten streetlights like level animal heads along the edge of the gallery, a diorama of an overpass in the middle of the room, and an urgent shouty soundtrack reeling ‘I CALL UPON THE ASTRA, THE VECTRA, THE VIVA,’ ‘IN THE NAME OF THE LEVELLERS, THE DIGGERS AND THE NAVVIES OF THE M53,’ and ‘OUT HIGH-FUNCTIONING FAN-BOY GREAT ATTENTION TO DETAIL’ (the full transcript was available next to the press releases when u walked in, thanks for that btw). but those words! The space was somewhere between vulnerable and confident like how gases and liquids take the shape of their container,, and the soundtrack set an atmosphere that cooked the space. It stressed Zarina out but I was ok and I think that’s because this exhibition is a tributary of Leckey’s film Dream English Kid, which I’ve seen twice now, get me (at Cabinet on Halloween 2015, n at the Liverpool Biennial last summer). I don’t know if the exhibition would have gotten to me as much if I didn’t see that the exhibition was the film turned inside out, focused + placated. bc of that, the Cubitt exhibition feels like a good pay-off, and I wonder how Leckey positions it in relation to Dream English Kid; whether this show is like a peninsula for it as the main event, or a moment to take account of the similar melancholic politics boiling over rn. I’m glad the exhibition exists

ah

I've been so in the mood for a good solo show. story is tangible, settled. I kept walking round the space and being drawn in2 the model of the overpass/bridge in the exhibition, pulling me in by some dolly-cam zoom: little model sculpture, had that sense of responsibility and care like the Kouassi alter. something i wanted to stay with. ; so I’m glad that I took away the page with the transcript on, took one for myself 2 bring the words back to Liverpool with me. I lost the paper in my bedroom somewhere so I got in touch with curator Helen Nisbet to ask to send me a copy n she sent a picture of it: attached. have a read. it is a ranty spell to shout at protests. it is something that artists should study n feel.

 

 

*

‘Affect Bridge Age Regression’ is on until July 30;;;; https://cubittartists.org.uk/2017/06/15/mark-leckey-affect-bridge-age-regression/

 

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{ 𝔱𝔥𝔢 𝔬𝔫𝔩𝔶 𝔯𝔢𝔞𝔰𝔬𝔫 𝔗𝔥𝔢 𝔚𝔥𝔦𝔱𝔢 𝔓𝔲𝔟𝔢 𝔠𝔞𝔫 𝔰𝔱𝔦𝔩𝔩 𝔢𝔵𝔦𝔰𝔱 𝔦𝔰 𝔟𝔢𝔠𝔞𝔲𝔰𝔢 𝔰𝔬𝔪𝔢 𝔬𝔣 𝔬𝔲𝔯 𝔯𝔢𝔞𝔡𝔢𝔯𝔰 𝔠𝔥𝔬𝔬𝔰𝔢 𝔱𝔬 𝔰𝔲𝔭𝔭𝔬𝔯𝔱 𝔲𝔰 𝔢𝔞𝔠𝔥 𝔪𝔬𝔫𝔱𝔥 𝔳𝔦𝔞 𝔓𝔞𝔱𝔯𝔢𝔬𝔫. 𝔚𝔢 𝔰𝔬𝔪𝔢𝔱𝔦𝔪𝔢𝔰 𝔡𝔬 𝔱𝔞𝔩𝔨𝔰 𝔞𝔫𝔡 𝔬𝔱𝔥𝔢𝔯 𝔧𝔬𝔟𝔰 𝔟𝔲𝔱 𝔓𝔞𝔱𝔯𝔢𝔬𝔫 𝔦𝔰 𝔥𝔬𝔴 𝔴𝔢 𝔤𝔢𝔱 𝔭𝔞𝔦𝔡 𝔣𝔬𝔯 𝔱𝔥𝔢 𝔞𝔠𝔱𝔲𝔞𝔩 𝔴𝔯𝔦𝔱𝔦𝔫𝔤 𝔥𝔢𝔯𝔢 - 𝔱𝔥𝔢 𝔯𝔢𝔳𝔦𝔢𝔴𝔰 𝔫 𝔞𝔯𝔱 𝔱𝔥𝔬𝔲𝔤𝔥𝔱𝔰 𝔞𝔫𝔡 𝔰𝔬 𝔬𝔫. 𝔄𝔫𝔡 𝔦𝔱'𝔰 𝔰𝔬 𝔦𝔪𝔭𝔬𝔯𝔱𝔞𝔫𝔱 𝔱𝔬 𝔲𝔰 2 𝔱𝔥𝔞𝔱 𝔴𝔢 𝔠𝔞𝔫 𝔰𝔱𝔞𝔶 𝔦𝔫𝔡𝔢𝔭𝔢𝔫𝔡𝔢𝔫𝔱 𝔠𝔯𝔦𝔱𝔦𝔠𝔰 𝔴𝔦𝔱𝔥𝔬𝔲𝔱 𝔱𝔦𝔢𝔰 𝔱𝔬 𝔟𝔦𝔤 𝔣𝔲𝔫𝔡𝔢𝔯𝔰 𝔬𝔯 𝔦𝔫𝔰𝔱𝔦𝔱𝔲𝔱𝔦𝔬𝔫𝔰, 𝔭𝔲𝔟𝔩𝔦𝔠 𝔬𝔯 𝔭𝔯𝔦𝔳𝔞𝔱𝔢. 𝔗𝔥𝔞𝔫𝔨 𝔶𝔬𝔲 𝔣𝔬𝔯 𝔟𝔢𝔦𝔫𝔤 𝔬𝔲𝔯 𝔬𝔩𝔡 𝔱𝔦𝔪𝔢𝔶 𝔭𝔞𝔱𝔯𝔬𝔫𝔰 - 𝔴𝔢'𝔩𝔩 𝔡𝔬 𝔬𝔲𝔯 𝔟𝔢𝔰𝔱 𝔱𝔬 𝔭𝔯𝔬𝔡𝔲𝔠𝔢 𝔮𝔲𝔞𝔩𝔦𝔱𝔶 𝔬𝔲𝔱𝔭𝔲𝔱; 𝔴𝔯𝔦𝔱𝔢 𝔰𝔱𝔲𝔣𝔣 𝔱𝔥𝔞𝔱 𝔦𝔰 𝔱𝔥𝔬𝔲𝔤𝔥𝔱𝔣𝔲𝔩 𝔞𝔫𝔡 𝔰𝔦𝔫𝔠𝔢𝔯𝔢. }

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