Mute magazine - Culture and politics after the net
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Entering the exhibition, passing into a plush, velvety dark red, angled antechamber, illumined with a projection of the remarkable Claude Cahun's self-portrait of 1927, one of several projected slides, first impressions are good, building a genuine sense of anticipation. After all, this was to be a milestone exhibition, four years in preparation, of surrealist works that had been rarely seen in Britain, by women artists who are little known, if at all, outside of those few who ride the tail of the surrealist comet. After this symbolic act of passing over the threshold, there is an immediately deflating contrast with the conventionality of the gallery space. But what else might one expect? The 'realism' of being in an art gallery suitably restored, with its admittedly pleasant light and spaciousness, any misplaced disappointment is easily dissolved since there is much here to see. Then, like walking into a wall, one is flatly confronted by the first of several didactic notice boards, supposedly there to inform and contextualise, laying bare the curatorial agenda.
http://www.metamute.org/en/content/clipped_wings
http://www.metamute.org/en/content/clipped_wings
