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this
is rentnercollective? |
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by
B. Trychotomy, May 24, 2004 |
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related articles: |
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When
you attend an art show entitled 'This is something', you normally
expect the something to be explained, especially if it contains
a word that you don't understand. Various work by Joseph Ismail gave
away clues in the form of documentation of past events which always
included the corporate-style, bright red logo which he wanted to burn
into the retina of the audience. This show may well be Rentner Collective,
but what Rentner actually is or represents seemed to be not only the
question of the curator (with his inclusion of a question mark) but
also the question on the audience's lips. |
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The
individual artists' work began with Simeon Farrar's drawings and photos,
collaged and stretched out across the wall of the church as the fragments
reached for the beginning of Julien Thomasset's striking triptych.
Or was it the end of his triptych? The narrative that could be read
from these three paintings seemed to be working backwards by starting
with the urban scene and ending with the landscape of Iceland. Maybe
it was a reminder of how far (or not) mankind has come. |
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foreground:
sonia estelle's work |
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Questions
about where Art begins and ends were also raised by the next three
artists in three quite different forms of abstraction. They were also
making comments on the display of artwork. Ben Crawford's paintings
literally spilled off the canvas onto the walls of the gallery, bleeding
into their surroundings. Ahmed Baradah appeared to be hiding an assortment
of ready-mades (in the form of household containers) behind three
reversed pictures, but the items were ripping through the back of
the canvas (the front of the work) into view. It is as though he is
ashamed of what Art is becoming by trying to hide the all too familiar
objects that we now regularly see in contemporary Art shows. Sonia
Estelle's work concluded the theme as her display case contained a
canvas of drawing pins that seemed to be making an artefact of Modernism. |
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The latest edition of Rentner Collective's magazine R Review which
is entirely the work of Rupert Jaeger, found its place quite comfortably
as a piece of artwork on the walls of the gallery. Rupert displayed
other objects that made the audience question Art and exhibition with
the aid of the corporate logo. But if the logo was not stuck in your
head by its constant static appearance, it was literally burnt into
your retina in one of the video pieces by Adam Laurence, as images
of Rentner activity and hell fire burnt in a dark recess of the church.
Joseph Ismail's red rope that filled the gallery space enabled him
to physically draw together all the work with the help of pulleys,
tightening the collaboration which may not have been immediately apparent.
But a brief consultation with the documentary Devine Definition by
Adam Laurence summed up the show by attempting to find a definition
for Rentner. It was unable to, which leads one to conclude that the
more people try to explain what Rentner is, the more questions are
raised. |
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