Skip to main content

Florian & Michael Quistrebert - Visions of Void

Dundee Contemporary Arts until March 22nd
Four stars

White light, white heat and pop art fun palaces are what initially spring to mind as one enters this biggest UK display to date by the French-born Quistrebert brothers to a mind-bending projection of op-art geometric patterns beamed onto canvas in a pitch-black room. Such black and white counterpoints in what is styled as Stripes 2 (2013) gives off the image of a well turned out chill-out room designed for sensory disorientation and altered states in ways many of DCA's shows have explored over recent years.

In the main gallery there is plenty of space left between the paintings that make up the Overlight series (2015), on which are daubed thick-set layers of modelling paste mixed up with coatings of either gold, chrome or gold chrome. Inside these already shiny surfaces are embedded tiny LED lights, both coloured and clear.

Parked next to each other, with two next door using a gritty powder used for high visibility road markings, each resembles a mould of a car boot or the base of an Airfix diorama upended and hung vertically. In the corner, the projected shapes of The 8th Sphere (2010) conjure up an array of occult-based conspiracy theory symbols against silver painted walls that look like retro-futurist cave paintings of Illuminati pyramids and the like.

For simulated sacrifice, one could immerse oneself among the flickering screens of Void Fires (2015), however hard it may be for home-grown viewers of a certain age to avoid replaying the opening credits of hammed-up 1970s TV thrill-fest Tales of the Unexpected. The fact that, far from the noise, smoky breath and rock and roll excesses of any maddening crowds that might easily illustrate it, the Quistreberts' work is shown in silence without soundtrack speaks volumes of a more attentive approach required to reflect on what's on show beyond its shiny surface.

The Quistreberts have already been championed by ultimate transgressive art star Genesis Breyer P-Orridge in his/her essay, Shadows and Mirrors. Here the siblings' psych-punk titled show is supported by the Institut Francais d'Ecosse in Edinburgh, who are showing a trio of the pair's geometrically inclined short video works under the name Amnesiac cisenmA in tandem with Visions of Void.

Back at the DCA, once all demons have been silently dispelled, one could go and hide from the fray in the gallery's small ante-room, where, again set against silver-painted walls, the jet black paint spray of the tiny Soue-Bois Vertical (2010) is tucked in the corner of what could easily be the bedroom of two teenage brothers flirting with their dark side from sulky adolescence to the spaced-out beyond that fuels them.
 
The List, February 2015

ends

Comments

Popular posts from this blog

The Art School Dance Goes On Forever – Snapshots Of Masters Of The Multiverse

Intro – Snapshots – Deaf School

1

In 1980, the same year as the Manchester band, Magazine, released a 7
inch single called A Song From Under The Floorboards – a three verse
and chorus distillation of Dostoyevsky's novel, Notes From Underground
– an art school scandal occurred.

This scandal took place in Liverpool, and was based around a project
called the Furbelows, although it became better known in the Liverpool
Echo and other organs that reported it as the Woolly Nudes.

The Furbelows, or Woolly Nudes, were a group of artists who had come
out of Liverpool College of Art, who, dressed in grotesque woolly
costumes which featured knitted approximations of male and female
genitalia, made assorted public interventions around the city centre as
kind of living sculptures acting out assorted narratives.

The Furbelows project had been funded by what was then Merseyside Arts
Association, and, after the participants were arrested and taken to
court on obscenity charges after what…

Peter Brook – The Prisoner

Peter Brook is no stranger to Scotland, ever since the guru of European and world theatre first brought his nine-hour epic, The Mahabharata, to Glasgow in 1988. That was at the city’s old transport museum, which by 1990 had become Tramway, the still-functioning permanent venue that opened up Glasgow and Scotland as a major channel for international theatre in a way that had previously only been on offer at Edinburgh International Festival.
Brook and his Paris-based Theatre des Bouffes du Nord company’s relationship with Tramway saw him bring his productions of La Tragedie de Carmen, La Tempete, Pellease et Mellisande, The Man Who…, and Oh Les Beaux Jours – the French version of Samuel Beckett’s Happy Days – to Glasgow.
Thirty years on from The Mahabharata, Brook comes to EIF with another piece of pan-global theatre as part of a residency by Theatre des Bouffes du Nord, which Brook has led since he decamped to Paris from London in the early 1970s. The current Edinburgh residency has alr…

Romeo And Juliet - Shakespeare's Globe Comes to Glasgow

Open-air Shakepeares are a summer-time perennial of the theatre calendar, attracting picnicking audiences as much as midges. More often than not, such romps through the grass are frothy, heritage industry affairs designed to be accompanied by strawberries and cream and not to be taken too seriously. Shakespeare’s Globe theatre company look set to change such perceptions when they open their outdoor tour of Romeo And Juliet in Glasgow next week as part of the West End festival.

For the two young actors taking the title roles of the doomed lovers, it will also be something of a homecoming. Richard Madden and Ellie Piercy both studied in Glasgow prior to turning professional. Indeed, Madden has yet to graduate from the acting course at RSAMD, and, as well as facing the pressures of playing such a meaty role in close proximity to the audience, will have the added anxiety of being assessed and graded by his tutors.

“This is the end of my third year,” says Madden following a Saturday mornin…