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That kind of simple but revealing linguistic slippage is behind Heather Phillipson's film A is to D what E is to H, now on show at Baltic, in which the artist narrator can't quite establish whether she's making a film about French Kissing or French Cuisine. To watch it you sit in a yellow paint splashed Peugeot 406 on the gallery floor on a pool of red pigment. The film is a fast collage of found images and crudely filmed video projected on to the inside of the screen as the artist drones on in a flat voiceover. There's a steering wheel to play with and enough silly food/sex double entendres to fill a series of the Great British Bake Off. But if this slapdash presentation seems homespun there is far more to Phillipson's art than first appears. For she is also a much lauded poet published Nike Air Force Black And Green
ntridge's art. He is best known now for his complex, monochrome animations and for set design and direction with big name theatre and opera companies but he began making Nike Air Force Blue High Top simple posters for trade unions, small theatre companies and student protests in the 1970s. A Universal Archive, a Hayward touring exhibition, is an economical introduction to the centrality of the print in Kentridge's art over the last 25 years. There are more than 100 works, including etchings, lithographs and screenprints. But it also serves as a microcosm of the work as a whole. There Air Force 1 Dark Blue
is the formal playfulness and untrammelled invention, the politics, a certain existential darkness and a ferocious energy. The show begins with the two large silkscreens executed in 1988 that marked his move into fine art per se. Art in a State of Hope and Art in a State of Siege are two human figures, a man machine and a fat cat businessman, which act as angry manifestos for the emerging artist. Kentridge draws on the art of revolutionary Russia and the protest culture of Weimar Germany to articulate the struggles of the apartheid era.
by the likes of Bloodaxe and Faber, and for her language is not just comic but treacherous. Sometimes it sticks in the throat. Like both kissing and cooking, it is often fun but not always hygienic.
his old school, the artist stumbled upon a volume entitled Eros in School. It was in fact a teacher's manual called Errors in School.
Indeed hygiene is a recurring theme in the Baltic exhibition; you enter the.
Indeed Russia serves as a touchstone for the artist. His series of prints based on a production of Shostakovich's opera The Nose are dark interpretations of Nikolai Gogol's original short story about a minor civil servant whose nose jumps off his face and develops a life of its own. Using an unusual sugar lift technique (it involves mixing condensed milk and Indian ink) the artist turns the nose into a gaping void on the printed page, an image of loss and a grim parody of sinister and senseless hierarchies. But there is fun too. Often he prints on found papers, such as the pages of an old dictionary or textbook. A series of romantic romps turns out to have its origins in an elementary mistake. Looking for a text on which to make some fundraising prints for Red Air Force 1 With Stars
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