Skip to main content

Andy Hope 1930 - When Dinosaurs Become Modernists


Inverleith House, Edinburgh
November 1 to January 13 2013
4 stars
Scary monsters and super-creeps abound in the Berlin-based artist 
formerly known as Andreas Hofer's first UK museum exhibition, which 
features five new works among an epic forty-one on show. Seen side by 
side, there are moments when they resemble an outsize pulp fiction 
collage of pop culture ephemera swirling around Hofer's brain, 
over-lapping each other as they burst through the frame. Even the fact 
that Andy Hope 1930 has a secret identity speaks volumes about where 
he's coming from.

Because, drawing a line between Roy Lichtenstein and Daniel Johnston, 
Andy Hope 1930 takes the  trash aesthetic of golden age comic book 
iconography and invests it with a subverted mythology born of the more 
questioning, me-generation years. So, against a Zabriskie Point style 
landscape in 'Impressions d'Amerique', Batman and Robin are dressed as 
The Lone Ranger and Tonto, making the umbilical link between 
existentialist outlaw (super)heroes of old and new America as he goes.

  The nod to French proto-surrealist Raymond Roussel, who so influenced 
a generation of New York poets, is as knowing as the wonkified 
charity-shop Kurt Schwitters homage, the portrait of John Baldessari as 
Marvel Comics super-villain Galactus, which comes complete with extra 
added Jesus, and the strip cartoon take of Linda Lee as Supergirl. 
Because, amongst the desolate landscapes that recall the early work of 
Wim Wenders, another German fascinated with the Wild West reinvented as 
post-war counter-culture, Andy Hope 1930 needs heroes to call his own.

Of course, there are dinosaurs, be they larger than life and hidden 
behind wall-papered candy-stripes, or pocket-sized and contained, as 
they are in 'The Education Dinosaur Movie Hall'. This earth's core 
installation is a cardboard box peep-show into a Ray Harryhausen-style 
parallel universe where dinosaurs watch science-fiction B-movies at the 
local drive-in. As evolution goes, it's a spaced oddity, for sure. 
The List, November 2012

ends

Comments

Popular posts from this blog

The Honourable K.W. Harman: Ltd Ink Corporation

31 Bath Road, Leith Docks, March 17th-20th

In a monumental shipping container down by Leith Docks, a Sex Pistols tribute band is playing Anarchy in the U.K.. on a stage set up in the middle of the room. Either side, various constructions have been built in such a way so viewers can window shop as they promenade from one end of the room to the next, with the holy grail of a bar at either end.

Inbetween, there’s a confession booth and a mock-up of a private detective’s office with assorted documentation of real-life surveillance pinned to the walls. Two people seem to be having a conversation in public as if they're on a chat show. An assault course of smashed windows are perched on the floor like collateral damage of post-chucking out time target practice. A display of distinctively lettered signs originally created by a homeless man in search of a bed for the night are clumped together on placards that seem to be marking out territory or else finding comfort in being together. Opp…

Scot:Lands 2017

Edinburgh's Hogmanay
Four stars

A sense of place is everything in Scot:Lands. Half the experience of Edinburgh's Hogmanay's now annual tour of the country's diverse array of cultures seen over nine bespoke stages in one global village is the physical journey itself. Scot:Lands too is about how that sense of place interacts with the people who are inspired inspired by that place.

So it was in Nether:Land, where you could see the day in at the Scottish Storytelling Centre with a mixed bag of traditional storytellers and contemporary performance poets such as Jenny Lindsay. The queues beside the Centre's cafe were further enlivened by the gentlest of ceilidhs was ushered in by Mairi Campbell and her band.

For Wig:Land, the grandiloquence of the little seen Signet Library in Parliament Square was transformed into a mini version of the Wigtown Book Festival. While upstairs provided a pop-up performance space where writers including Jessica Fox and Debi Gliori read eithe…

Nomanslanding

Tramway, Glasgow until July 2nd
Four stars

In the dead of night, the audience are split in two and led under-cover into lamp-lit tented structures. Inside, what look like peasant women on the run lead us down a ramp and into a large circular pod. It feels part cathedral, part space-ship, and to come blinking into the light of such a fantastical structure after stumbling in the dark disorientates and overwhelms. Sat around the pod as if awaiting prayers to begin, we watch as performers Nerea Bello and Judith Williams incant mournfully on either side of the room. Their keening chorales embark on a voyage of their own, twisting around each other by way of the international language of singing. As if in sympathy, the walls wail and whisper, before starting to move as those on either side of the pod are left stranded, a gulf between them.

This international co-commission between Glasgow Life and the Merchant City Festival, Sydney Harbour Foreshaw Authority in Australia and Urbane Kienste …