Summer Exhibitionists
Sardine & Tobleroni, Sardineto The Love Tamer, acrylic on canvas
4 - 26 July 2009
curated by Chiara Williams & Debra Wilson
'An irreverent, carnivalesque summer romp'
Artists:
Boa Swindler
Eva Lis
Enzo Marra
Sardine & Tobleroni
Matt Day
Mimi Norrgren
Lorraine Clarke
Chiara Williams
Artistes:
Honeytrap
Ruby Tuesday
Madeleine Dunbar
curated by Chiara Williams & Debra Wilson
'An irreverent, carnivalesque summer romp'
Artists:
Boa Swindler
Eva Lis
Enzo Marra
Sardine & Tobleroni
Matt Day
Mimi Norrgren
Lorraine Clarke
Chiara Williams
Artistes:
Honeytrap
Ruby Tuesday
Madeleine Dunbar
'Tracey Emin and a Midget' by Sardine & Tobleroni
Sex, delinquency, parody and alternative culture are some of the themes running through the exhibition, which is based on the exploitative acts of Vaudeville and Sideshows of the late 19th & early 20th century. Promoters of these acts adopted the trick of pretending that titillating or grotesque content had a redeeming social message, warning of the dangers of fringe lifestyles. In this way audiences found it acceptable to relish in the entertainment on offer. All promoters shared a love of publicity and would draw in crowds with a wide range of spectacles and parodies, guaranteed to attract attention and stimulate ticket sales.
Eva Lis' 'Parade of the Denizens' is a dark and comic, B-movie style film, and takes a satirical look at the perils of stepping outside the norm, in this case outside the London art scene, beyond the M25, and into...provincial territory. Juxtaposing archival footage with video of Lis's famed horse drawn art exhibition, it records audience responses to the travelling show and questions our prejudices and conditioned ideas.
In European sideshows of the 17th and 18th century, giantism, dwarfism, siamese twins, dog or hog faced individuals and bearded ladies were exhibited as freaks of nature, and at that time, the term Burlesque referred to a grotesque imitation of the dignified or pathetic in society. Matt Day's installation of outrageous caricatures 'How to spot a Lunatic' combines theories of Physiognomy, Phrenology and Anthropological criminology. Referencing the bloody history of decapitated heads on spikes, taxidermy and the exoticism of shrunken heads, the work is securely rooted in British sideshow amusement, presented as a makeshift coconut shy. On a more depressing note, the work recalls how punters paid a penny to tour Bedlam for a laugh. Enzo Marra also offers up some extraordinary bodies: an eight-breasted female, a bearded lady, acrobats and self portraits as a two-headed man and as a clown. Marra's muted palette recalls Picasso's Rose period and his turn of the century fascination with the circus, the exotic and the primitive.
In a nod to both the Circus and the Wunderkammer, the cages and ropes in Lorraine Clarke's commanding installation 'Fertility dolls' imply that the power of the curiosities themselves needs containing and harnessing. Historically, the Cabinet of curiosities functioned as a microcosm of the natural world, personal museums of the rich and famous, a display of their power to recreate and control 'worlds'. Similarly, Clarke's cages remind us that a circus can be seen as a populist, living, world-shaped chamber of wonder. With mythical dragons under glass cloches and relic-like objects laden with references and symbolism, for Clarke, as for the Wunderkammer, the line between the real and the invented artefact is always blurred.
By the 18th century the term Burlesque was used throughout Europe to describe musical works in which serious or comic elements were juxtaposed or combined to achieve grotesque exaggeration. By the 19th century, early theatrical Burlesque was a form of musical and theatrical parody in which opera and classical theatre was adapted in broad, risque styles that ridiculed the stage conventions of the day. This later evolved into Music Hall and Vaudeville. Out of this, early 20th century American Burlesque became associated with the variety show and re-emerged as a populist blend of satire, magic and performance art. Appealing to our sense of claustrophia and an enduring interest in magic, illusion, contortionism and escapology, and pushing the body's physical limits, is artist Mimi Norrgren, whose novelty act from within the confines of a small travelling trunk, captivates and entertains her audience.
Eva Lis' 'Parade of the Denizens' is a dark and comic, B-movie style film, and takes a satirical look at the perils of stepping outside the norm, in this case outside the London art scene, beyond the M25, and into...provincial territory. Juxtaposing archival footage with video of Lis's famed horse drawn art exhibition, it records audience responses to the travelling show and questions our prejudices and conditioned ideas.
In European sideshows of the 17th and 18th century, giantism, dwarfism, siamese twins, dog or hog faced individuals and bearded ladies were exhibited as freaks of nature, and at that time, the term Burlesque referred to a grotesque imitation of the dignified or pathetic in society. Matt Day's installation of outrageous caricatures 'How to spot a Lunatic' combines theories of Physiognomy, Phrenology and Anthropological criminology. Referencing the bloody history of decapitated heads on spikes, taxidermy and the exoticism of shrunken heads, the work is securely rooted in British sideshow amusement, presented as a makeshift coconut shy. On a more depressing note, the work recalls how punters paid a penny to tour Bedlam for a laugh. Enzo Marra also offers up some extraordinary bodies: an eight-breasted female, a bearded lady, acrobats and self portraits as a two-headed man and as a clown. Marra's muted palette recalls Picasso's Rose period and his turn of the century fascination with the circus, the exotic and the primitive.
In a nod to both the Circus and the Wunderkammer, the cages and ropes in Lorraine Clarke's commanding installation 'Fertility dolls' imply that the power of the curiosities themselves needs containing and harnessing. Historically, the Cabinet of curiosities functioned as a microcosm of the natural world, personal museums of the rich and famous, a display of their power to recreate and control 'worlds'. Similarly, Clarke's cages remind us that a circus can be seen as a populist, living, world-shaped chamber of wonder. With mythical dragons under glass cloches and relic-like objects laden with references and symbolism, for Clarke, as for the Wunderkammer, the line between the real and the invented artefact is always blurred.
By the 18th century the term Burlesque was used throughout Europe to describe musical works in which serious or comic elements were juxtaposed or combined to achieve grotesque exaggeration. By the 19th century, early theatrical Burlesque was a form of musical and theatrical parody in which opera and classical theatre was adapted in broad, risque styles that ridiculed the stage conventions of the day. This later evolved into Music Hall and Vaudeville. Out of this, early 20th century American Burlesque became associated with the variety show and re-emerged as a populist blend of satire, magic and performance art. Appealing to our sense of claustrophia and an enduring interest in magic, illusion, contortionism and escapology, and pushing the body's physical limits, is artist Mimi Norrgren, whose novelty act from within the confines of a small travelling trunk, captivates and entertains her audience.
'Parade of the Denizens' by Eva Lis
Pure Burlesque was simply comedy. Providing this in her own inimitable style is alternative poetess and actress Madeleine Dunbar, who performs brand new material written especially for 'Summer Exhibitionists'. Only in 20th century American culture is the term Burlesque associated with striptease as the chief attraction. Ruby Tuesday provides a titillating 'girls girls girls' routine in the now innocent style of the 50s dancers, complete with feathers and tongue firmly in cheek. In early Burlesque it took little time for civic groups to begin cracking down on venues, denouncing them as dens of vice that encouraged drinking, prostitution and lack of respect toward one's betters. With politicians and clergymen denouncing the immorality of striptease, the promoters were more than grateful for the unpaid advertising that drew attention to their wares. Once stripping emerged into the (semi) mainstream by the late 1970s and everything 'could' be shown, there was no more creative dodging of the limits.
Without moral limits the exploitative nature of entertainment had nothing to defy. The thrill was in what appealed to the public's less noble impulses. Exploitation thrives on the margins of legality, promising to show the unshowable, but never in reality quite crossing the line. Sardine & Tobleroni's paintings depict the explicit, un-pc scenes that possibly provide what the early audiences were hoping for. Pickets were employed by promoters to entice visitors to the attractions, but the real excitement for punters was always in accepting the dare. The ringmaster of Sardine & Tobleroni's work is the iconic 'Sardineto the Love Tamer' who at arms length directs a bevy of animals and artists in compromising positions: Royal Academician Tracey Emin appears in 'Tracey Emin and a Midget', sensationally leaning out of her tent, she fondles a vertically-challenged person's genitals. Her ex appears in 'Billy Childish and the Boys' with two masked strong men groping his buttocks, while in other scenes, circus animals and pets engage in inter-species sex.
Today the exploitation aesthetic survives in the form of revival. We are still fascinated by spectacles, which now come in the form of sensationalist documentaries about human beings born with sometimes appalling congenital deformities or abnormalities. Billed, not as freak shows, but as educational or scientific programmes, they still employ many of the hyperbolic marketing tactics of the early sideshow promoters. With the 'variety' genre constantly reinventing itself for each generation, Boa Swindler presents new paintings of a burlesque 'Britain's Got Talent' contestant, a 19th century 'Human Collosus' and a very tempting 'interval' ice cream. Swindler's campery continues in the true spirit of burlesque: outrageous, clever and crude. Exploitative entertainment could and did draw on a range of subjects, promising uncensored secrets which would blast the truth before your very eyes.
Finally, musical artistes Honeytrap snare and hypnotise with their dramatic folk punk. Their odd but exhilarating ‘Mussolini’s Son’ was picked up on by David Bowie, who in March 2007, made it number 1 on his Times column listening list. Whilst scouting for something special to headline their summer event, WW was blown away by Honeytrap's monumental talent at a recent gig. They had no choice but to book them immediately for 'Summer Exhibitionists', upon hearing the synchronistic lyrics “in a sideshow/ in the circus of the freaks...”
Postscript:
As a late addition to this show, Chiara Williams provides a portrait of Michael Jackson, remembering him at his peak, just before the circus surrounding his life kicked in.
Without moral limits the exploitative nature of entertainment had nothing to defy. The thrill was in what appealed to the public's less noble impulses. Exploitation thrives on the margins of legality, promising to show the unshowable, but never in reality quite crossing the line. Sardine & Tobleroni's paintings depict the explicit, un-pc scenes that possibly provide what the early audiences were hoping for. Pickets were employed by promoters to entice visitors to the attractions, but the real excitement for punters was always in accepting the dare. The ringmaster of Sardine & Tobleroni's work is the iconic 'Sardineto the Love Tamer' who at arms length directs a bevy of animals and artists in compromising positions: Royal Academician Tracey Emin appears in 'Tracey Emin and a Midget', sensationally leaning out of her tent, she fondles a vertically-challenged person's genitals. Her ex appears in 'Billy Childish and the Boys' with two masked strong men groping his buttocks, while in other scenes, circus animals and pets engage in inter-species sex.
Today the exploitation aesthetic survives in the form of revival. We are still fascinated by spectacles, which now come in the form of sensationalist documentaries about human beings born with sometimes appalling congenital deformities or abnormalities. Billed, not as freak shows, but as educational or scientific programmes, they still employ many of the hyperbolic marketing tactics of the early sideshow promoters. With the 'variety' genre constantly reinventing itself for each generation, Boa Swindler presents new paintings of a burlesque 'Britain's Got Talent' contestant, a 19th century 'Human Collosus' and a very tempting 'interval' ice cream. Swindler's campery continues in the true spirit of burlesque: outrageous, clever and crude. Exploitative entertainment could and did draw on a range of subjects, promising uncensored secrets which would blast the truth before your very eyes.
Finally, musical artistes Honeytrap snare and hypnotise with their dramatic folk punk. Their odd but exhilarating ‘Mussolini’s Son’ was picked up on by David Bowie, who in March 2007, made it number 1 on his Times column listening list. Whilst scouting for something special to headline their summer event, WW was blown away by Honeytrap's monumental talent at a recent gig. They had no choice but to book them immediately for 'Summer Exhibitionists', upon hearing the synchronistic lyrics “in a sideshow/ in the circus of the freaks...”
Postscript:
As a late addition to this show, Chiara Williams provides a portrait of Michael Jackson, remembering him at his peak, just before the circus surrounding his life kicked in.
Press release
All the Fun of the Fair!!!
Come marvel at scenes of the absurd, grotesque exaggeration and dancing girls...Wonder at the wild musicians...See Royal Academicians in compromising positions...Witness the amazing Suitcase of Surprises...Be flabbergasted by the Cabinet of Curiosities...
Among the paintings on view, Royal Academician Tracey Emin sensationally leans out of her tent, fondling a vertically-challenged person's genitals. Elsewhere her ex Billy Childish appears with two masked strong men groping his buttocks, and in other scenes, circus animals and pets engage in inter-species sex. As a late edition to the show, a portrait of Michael Jackson remembers him at his peak, just before the circus surrounding his life kicked in...
Sex, delinquency, parody and alternative culture are some of the themes running through the show 'Summer Exhibitionists', based upon the exploitative acts of Vaudeville and Sideshows of the late 19th & early 20th century. Thriving on the margins of legality, promising to show the unshowable, but never in reality quite crossing the line, 'Summer Exhibitionists' contains the explicit, un-pc scenes that possibly provide what the early audiences were hoping for, coupled with the disappointment of what they actually got.
Burlesque artiste Ruby Tuesday will tease and tantalise, while comedy will be provided by alternative poetess Madeleine Dunbar. Performance artist Mimi Norrgren will captivate from within a travelling trunk and there is also painting from Boa Swindler, Sardine & Tobleroni, Enzo Marra and Chiara Williams, sculpture from Matt Day, installation from Lorraine Clarke and video from Eva Lis.
Headlining the entertainment is rising local band Honeytrap, who will be performing two sets, both in the park and in the gallery. Their odd but exhilarating ‘Mussolini’s Son’ was picked up on by David Bowie, who in March 2007, made it number 1 on his Times column listening list. Whilst scouting for something special to headline their summer event, WW was blown away by Honeytrap's monumental talent at a recent gig. They had no choice but to book them immediately, upon hearing the synchronistic lyrics “in a sideshow/ in the circus of the freaks...”
On Saturday 4th July, Debra Wilson and Chiara Williams, fresh from the 53rd Venice Biennale, are the mistresses of ceremonies to a variety of 'acts' with a saucy and satirical edge. 'Summer Exhibitionists' is at WW Gallery and Hackney Downs park, from 3 to 9pm....it's the greatest summer exhibition on earth!
All the Fun of the Fair!!!
Come marvel at scenes of the absurd, grotesque exaggeration and dancing girls...Wonder at the wild musicians...See Royal Academicians in compromising positions...Witness the amazing Suitcase of Surprises...Be flabbergasted by the Cabinet of Curiosities...
Among the paintings on view, Royal Academician Tracey Emin sensationally leans out of her tent, fondling a vertically-challenged person's genitals. Elsewhere her ex Billy Childish appears with two masked strong men groping his buttocks, and in other scenes, circus animals and pets engage in inter-species sex. As a late edition to the show, a portrait of Michael Jackson remembers him at his peak, just before the circus surrounding his life kicked in...
Sex, delinquency, parody and alternative culture are some of the themes running through the show 'Summer Exhibitionists', based upon the exploitative acts of Vaudeville and Sideshows of the late 19th & early 20th century. Thriving on the margins of legality, promising to show the unshowable, but never in reality quite crossing the line, 'Summer Exhibitionists' contains the explicit, un-pc scenes that possibly provide what the early audiences were hoping for, coupled with the disappointment of what they actually got.
Burlesque artiste Ruby Tuesday will tease and tantalise, while comedy will be provided by alternative poetess Madeleine Dunbar. Performance artist Mimi Norrgren will captivate from within a travelling trunk and there is also painting from Boa Swindler, Sardine & Tobleroni, Enzo Marra and Chiara Williams, sculpture from Matt Day, installation from Lorraine Clarke and video from Eva Lis.
Headlining the entertainment is rising local band Honeytrap, who will be performing two sets, both in the park and in the gallery. Their odd but exhilarating ‘Mussolini’s Son’ was picked up on by David Bowie, who in March 2007, made it number 1 on his Times column listening list. Whilst scouting for something special to headline their summer event, WW was blown away by Honeytrap's monumental talent at a recent gig. They had no choice but to book them immediately, upon hearing the synchronistic lyrics “in a sideshow/ in the circus of the freaks...”
On Saturday 4th July, Debra Wilson and Chiara Williams, fresh from the 53rd Venice Biennale, are the mistresses of ceremonies to a variety of 'acts' with a saucy and satirical edge. 'Summer Exhibitionists' is at WW Gallery and Hackney Downs park, from 3 to 9pm....it's the greatest summer exhibition on earth!
