Hauser & Wirth, Old Bond Street, London
18 February–12 March 2011
by ANNA McNAY
Some 18 months later, the prints, now bedaubed with scribbled foetuses, miniature female figures, and heart rending words in Emin’s trademark mirror writing, finally arrived back with their Ur-mother, to be greeted with claps of approval and the utterance “yes, yes, yes”, by sheer good fortune, just three months before her death, in May 2010, at the grand old age of 98.
Having already shown in the Carolina Nitsch Project Room, New York, this vibrant collaborative output now adorns the walls of the Old Masters gallery at Hauser and Wirth Colnaghi. With the foliage pattern on the dark red walls mirroring the bleeding watercolour nerve endings of the works themselves, one gets the impression of standing in an oversized womb. The raw images, despite erect phalluses and inscriptions such as “You kept fucking me”, express not so much themes of overt sexuality and eroticism, but rather the intimate feminine emotions concerned with love and loss (the title of the show being Do Not Abandon Me), life and death, birth and motherhood, or the absence thereof (Bourgeois was a mother of three; Emin has had two abortions, and now, nearing her half century, accepts that she will never have a child). They exemplify and unite both artists’ confessional and audaciously autobiographical styles.
Before meeting Bourgeois for the first time, Emin had spent years mulling over what she really thought about the older artist’s work, and what it was that made it so good. Her conclusion? “Because of the honesty.” Then, upon entering her flat to find her “screaming, shouting, angry, and shaking her fist, […] I just remember thinking: this woman’s free. But the irony was that even though this woman was being emotionally free, she was making reference to the emotional entrapment of her life.” On one colourless pregnant bulge, I just died at birth, Emin has given a voice to an aborted foetus: “I now know I am free. Free to leave this world with no sentimental trail.” Just how appropriate these words might have been for Bourgeois herself one can only conjecture, but the affinity between birth and death resounds, akin to an epitaph.
In his preface to the catalogue for Poussin Gallery’s current exhibition, High Abstract, Mel Gooding is keen to establish that, “a simple definition of what might be admitted under the rubric of ‘abstract’ has never been agreed by artists or by critics or by art historians.”
GSK Contemporary, Earth: Art of a changing world
The Royal Academy in London, joining with sponsors GlaxoSmithKline, opened this new exhibition on 3 December. The central theme relates to global warming, an issue, which has increasingly preoccupied statesmen, politicians, scientists and creative artists around this imperilled world.
Ellen Bell: Camera Obscura and Other Stories
Ellen Bell’s work has all too often been side-lined as craft rather than art, and, indeed, the painstaking methods by which she selects, cuts, pins and pastes sometimes minutely printed words and strings of text from dictionaries, plays, and novels, requires a most artisanal skill and precision.