Skip to main content

Gabriel Kuri – All Probability Resolves Into Form

The Common Guild, Glasgow until June 7th
Three stars
in case of emergency, natural disaster, nuclear fall-out or biblical
engulfment, Mexican artist Gabriel Kuri is probably a very good man to
have on your side. By stocking up on blankets, fire extinguishers,
boxes of matches, bottles of water and assorted toiletries, then
assembling them in assorted sculptural show-and-tells on
silver-blanketed pallets in the town-house corridors of The Common
Guild, Kuri takes a practical and possibly life-saving survival kit,
then reassembles it in a way that suggests it's an in-storage archive
with everything in its place and a place for everything, even as it
awaits a situation in which it can be used.

Downstairs, alongside the two pallet-based pieces, a row of metal
compartments containing folded up and piled up blankets resembles both
a charity shop and a call centre store-room, the array of unopened
goods on the stairs themselves seem to awaiting the cleaner to arrive.
Upstairs, a network of primary coloured round tables with rolled-up
sleeping bags inbetween gives the air of an adventure playground
sleepover in progress.

With a title that gives a nod to philosopher David Hume's 1738 'A
Treatise of Human Nature', which suggested that 'All knowledge resolves
itself into probability', Kuri's collection of six new constructions
puts nuts and bolts on hard theory by giving it a quietly political
twist. This is made clear in subtle ways by the seeming class divide
hinted at across the two floors. The show's function as a form of
activism will only be made explicit at the end of the show, however,
when the found materials on display find their true calling by being
donated  to the GLAD Action Network and the Unity Centre, Glasgow, two
all too real support centres for asylum seekers and migrants in
Scotland, making Kuri's ordered arrangement a life-saver on every
level.

The List, April 2014

ends

Comments

Popular posts from this blog

The Maids

Dundee Rep

Two sisters sit in glass cases either side of the stage at the start of Eve Jamieson's production of Jean Genet's nasty little study of warped aspiration and abuse of power. Bathed in red light, the women look like artefacts in some cheap thrill waxworks horror-show, or else exhibits in a human zoo. Either way, they are both trapped, immortalised in a freak-show possibly of their own making.

Once the sisters come to life and drape themselves in the sumptuous bedroom of their absent mistress, they raid her bulging wardrobe to try on otherwise untouchable glad-rags and jewellery. As they do, the grotesque parody of the high-life they aspire to turns uglier by the second. When the Mistress returns, as played with daring abandon by Emily Winter as a glamour-chasing narcissist who gets her kicks from drooling over the criminal classes, you can't really blame the sisters for their fantasy of killing her.

Slabs of sound slice the air to punctuate each scene of Mart…

Phoebe Waller-Bridge - Fleabag

Phoebe Waller-Bridge is a busy woman. The thirty-two year old actress who burst onto our TV screens as writer and star of Fleabag, the tragi-comic sort of sit-com about a supposedly independent woman on the verge is currently overseeing Killing Eve, her new TV drama which she's written for BBC America. As an actress, Waller-Bridge is also filming a big screen project which we can't talk about, but which has already been outed as being part of the ongoing Star Wars franchise.

These are both pretty good reasons why Waller-Bridge won't be appearing in the brief Edinburgh Festival Fringe revival of the original stage play of Fleabag, when it opens next week at the Underbelly, where it was first unleashed to the world in 2013. In her place, Maddie Rice will take on the role of the potty-mouthed anti-heroine after touring Vickie Jones' production for Waller-Bridge and Jones' DryWrite company in association with Soho Theatre. This doesn't mean Waller-Bridge has turned…

The Divide

King's Theatre
Four stars

Everything is black and white in Alan Ayckbourn's new play, a six hour two part epic set in a dystopian future where men and women are segregated from each other following the aftermath of an unspecified plague. Into this landscape, the secret diaries of brother and sister Elihu and Soween are brought to life by Jake Davies and Erin Doherty with a wide-eyed lightness of touch as their hormones get the better of them when they both hit puberty.
Annabel Bolton's production for the Old Vic, EIF and Karl Sydow begins with a TED Talk type lecture that reveals the back story to how things turned out this way. It ends with a sentimental love story designed to tug the heart-strings. Inbetween, there is teenage rebellion aplenty against the regime's institutionalised repression. Liberation comes through art and sex, which, in such extreme circumstances become even greater life forces.

With both plays told through the siblings' diaries alongside ass…