EXHIBITION OF WORK
LOANED BY THE SAATCHI FOUNDATION.
At Ipswich Art School
Hilli Thompson
Given the Saatchi 'form;' I feared the worst for the likely content
of this exhibition: my fears sadly were realised. As a serious self-respecting
artist I would be embarrassed to call any of this stuff mine: I have
seen much better constructed, crafted, considered work in our schools.
If these pieces are what the Saatchi Foundation think are suitable
for a lovely gallery in Ipswich which in the past has seen the development
of fine artists such as Colin Moss and Bernard Reynolds then we should
feel deeply insulted.
The exhibit in the main hall is 'The bed' 2007 by Will Ryman. This
consists of an enormous bed filling most of the space available, supporting
an intoxicated man, surrounded by beer cans and other detritus. It
is supposed to show the effect of increased scale: so it's big; yet
it does not really explore the idea of scale.
In the old etching suite, of which I have fond memories, I found a
giant pair of shoes made out of liquorice by Andy Moore, USA, 2000
- not even nibbled by amused children: the room stank.
Francis Upritchard 2003 New Zealand 'Travellers collection' - mixed
media objects filling a three shelf unit. The objects were standard
features of a 'still life' but with an unpleasant twist - jugs with
matching but distorted animal heads, a small mummy and odd shaped bone
implements ; perhaps the objects were treasures for the mummy's afterlife.
This was by far the most interesting and thought provoking work in
the show.
Thomas Houseago 2005 USA 'Joanne'. A comically flimsy piece reducing
the weight of art history into sympathetic effigies. Every generation
of artists since time immemorial has produced the equivalent for their
time. Joanne turned out to be an emaciated rabbit. The accompanying
text proclaimed 'Through Houseago's work lies an engagement with hierarchical
consideration of visual form and their associated value.(!)
The art school offers an excellent opportunity for artists with its
varied spaces for display. What a pity that the opening exhibition
had to be of such poor quality: this does not augur well for the future.
Of course, local artists and public should be given the chance to view
international work whilst the Town Hall concentrates on local and British
exhibitions, but we should also be shown something to respect. Space
has prevented me mentioning many of the exhibits, but the most depressing
feature of this exhibition is that it reflects the degeneracy of our
society without offering any way forward or hope.
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See You At The Pictures
David Clare
The last time I wrote, the Film Theatre Trust was about to re-open Ipswich
Film Theatre in cooperation with the Borough Council, and make available
once more an alternative to Cineworld for filmgoers in the town. That was
in May, and now we still have a Film Theatre (and a very nice sign), and
one with a thriving audience base.
Yes, the gamble appears to have paid off. The combination of personal drive
on the part of the Trustees, the response from dozens of volunteers prepared
to usher and distribute programmes, an assiduous weekly email operation to
keep you abreast of the films on show and stop you from forgetting the place
exists, all seem to have conspired to make the venture a success. And it’s
not hearsay: I have been down there and always shared the auditorium with
the kind of houses we used to dream of in the old days of IFT. The concentrated
Thursday, Friday, Saturday programme of three showings per film, together
with word of mouth, appears to be doing the trick, and there is money in
the bank, the Trust’s money, our money, cinema money.
We now have two thriving, amateur-run organisations in Ipswich, devoted to
presenting a broad selection of films from across the globe: the Trust and
the Film Society, and it makes me feel tremendously hopeful about the future.
But we mustn’t be complacent.
Kristin Scott Thomas
So what’s in store for September? Well, you could do worse than have
a look on the website (www.iftt.co.uk), but the standout for me will be the
new French film with Kristin Scott Thomas, always given such better roles
across the Channel.
In Leaving (9th-11th September) she falls in love with
the workman doing a job at the house she shares with her exec husband Yvan
Attal, who makes life very hard for them when she swans off with her paramour.
The latter is played by Sergi Lopez, equally at home playing heavies as he
is ruggedly likeable types.
And then don’t forget the Film Society season starts on the 13th September
(www.ipswichfilmsociety.org.uk). I have it on good authority that it’s
filling up fast! As Roy Hudd used to say: see you at the pictures!
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