Tramway, Glasgow until
October 6th. The Gatekeepers will be performed on October 6th,
2-3pm.
Four stars
It’s not hard to see the
wood for the trees in Jonathan Baldock’s environmental fantasia, a collection
of totem pole-like ceramic pillars, buckets and badges that take its name from
George Orwell’s very English dystopian novel, 1984. Despite this, its adventure
playground stylings more resemble the set for some post-apocalyptic 1970s East
European animation, in which the natural world is magicked into quasi-human
life, painted in rainbow colours and given voice to laugh or cry at their lot.
Disembodied limbs reach
out through each structure, pointing the finger en masse or with hands
outstretched either side of lips that pout, smile or pull tongues, pushing
their way through the outer flesh of the cartoon tree they might have been
trapped inside by some fantastical trickster from a magic kingdom centuries
earlier. External trappings are embedded with smiley emojis that look like
pills, their trippy imaginings personified by occasional sounds of whistling,
cackling and assorted murmurs and burbles punctuating the air.
However playful, this is
the stuff of dark fairytales that recalls the stop-motion animations of Jan Svankmajer in its reimagining of
inanimate objects. Baldock’s thickly carpeted landscape looks too like some
knockabout alliance between H.R. Giger and H.R. Pufnstuf, with the fusion of
the Swiss sci-fi artist’s more clinical surrealistic tendencies warmed up by
the creature comforts of Sid and Marty Krofft’s late 1960s life-size puppet
based children’s TV show.
If ever there was an
installation waiting to have flesh and blood life breathed into it, Facecrime
is it. And so it shall come to pass on the show’s final afternoon, when a
performance of The Gatekeepers, a dance-based response to the exhibition developed
by Baldock with fellow travellers, artist Florence Peake and composer Chloe Herington,
will take place. Happy ever afters all round, one hopes.
The List, September 2019.
ends
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