Pulse Fringe: Blue Screen
Blue Screen Concealing Two Artists (1937), New Wolsey Studio, Wednesday 6 and Thursday 7 June
Pulse Fringe: Blue Screen Concealing Two Artists (1937), New Wolsey Studio, Wednesday 6 and Thursday 7 June
Weitz and Muller, two Colchester based conceptual performance artists brought to the New Wolsey Studios their exploration of society's artistic perception through the live canvas of a minimal blue sheet and pegs.
Through this highly abstract, slow moving piece of performance, the “minimal” audience was allowed time to reflect on the creation of a masterpiece - Picasso's Guernica - and what indeed it means to be and create art.
A large blue sheet covers the majority of the width of the stage, concealing the two artists leaving only the legs, feet and illuminated pile of pegs visible. Without music or narration, silence commands the piece's full attention, commencing with the simple pinching of cotton fabric and securing with peg. This is followed by more pinching and pegging, and yet more pinching and pegging. Forty minutes later, after much systematic peg dropping, and line rearrangement, we reach the climax, revealing rather impressively the key features of Picasso's Guernica.
You may also want to watch:
From nonsense to masterpiece, Weitz and Muller aim to deconstruct the artistic process, in which every line of construction is crucial and deeply personal. Albeit their method is original and tranquil - though bordering on tranquilising. As an audience we are very aware of the faceless silhouettes behind the sheets, and the matrix of shadows that reverberate as the light shifts, transforming the sheet from domestic utility to artists' canvas. One is reminded that a piece devoid of narration, music and painfully in need of explanation provokes the ultimate question of; what is art? Indeed is modern art truly art if it needs explanation? Most importantly, when reduced to pegs on a sheet, is Picasso's masterpiece robbed of its artistic value in some way?
While these questions are skilfully explored, the irony is that the audience is left questioning whether what they had just witnessed constituted art, or whether it was simply a discussion point resulting from pegs on a sheet.
- 1 Murder suspect arrested after woman found dead at country park
- 2 'I absolutely want to be part of it' - Skipper Chambers on Cook and his Town future
- 3 Ipswich Town transfer rumours: Town linked with Feyenoord defender as Edwards 'attracts interest'
- 4 Giant Noah's Ark stuck on Ipswich Waterfront
- 5 Driver goes to court over speed camera calibration dispute
- 6 Paul Cook's takeover worry and why he cancelled today's pre-match press conference
- 7 First pictures: Which Suffolk pubs are preparing to reopen on April 12?
- 8 Matchday Live: Goalless at the break in first game of a new era at Town
- 9 Closing coastal footbridge will have 'devastating' impact, pub owner says
- 10 Careless driver who caused fatal crash is jailed
Although, without a doubt the lighting and exposure of this piece was inspired, it was none the less dulled by the narcotic pace and air of pretension that pervaded the work.
Daisy Turner and Anna-Lena Gerrard Hughes.