Living City
[Dream target date 1999]

In the summer of 1999 I made several visits to my favourite bolt-hole on London's South Bank - the Hayward gallery, where I saw a number of excellent shows.

Using a combination of video, projections, installations and stage sets, 'Cities on the Move' provided a snapshot of urban life in the far east and developing nations: Cardboard slums knitted organically with gleaming hi-tech architecture, and brightly coloured inflatable toys provided an innocent counterpoint to the darker aspects of drug abuse, prostitution and political oppression.

Journal Entry 3rd June 1999

The exhibition was totally immersive, extending even into private areas such as the gallery toilets, where the sound of someone bathing in the next cubicle compelled visitors to engage in a voyeuristic peep-show. Two holes drilled into the door at eye-level provided a glimpse of a video screen, showing a young oriental woman taking a bath.

A life-size figure in the gallery itself invited visitors to gaze into the end of a flacid penis. The flickering display imbedded deep inside the torso wasn't half as interesting as watching other visitors on their knees in front of this vulgar mannequin.

I particularly enjoyed the street market on the middle level of the gallery where it was possible to rummage through hundreds of japanese comics, journals and creative source-books.

 

Later, I found a book in the gallery shop relating to the Archigram group whose architectural concepts in the early 1960's anticipated many of the nomadic and machine-like dwellings on display in the exhibition. As a young art student I would often borrow an old book from the public library in Mansfield. The book featured collage-work produced by the Archigram group. Although not widely recognised in the UK, I found Archigram inspirational as they combined both cultural and technological properties in their work.

I thought Archigram had long been forgotten, but this German publication, produced in memory of Ron Herron - one of the group's contributors, brought the excitement flooding back and I thought it was a perfect accompaniment to an exhibition where the central theme was 'Urban Chaos and Global Change'

Pop goes the easel

After the show I walked up through the West End towards Kings Cross. There I recognised film producer Ken Russell wandering through the rush hour crowds. His distinctive white hair, bright red complexion and pink shirt contrasting sharply with the drab city types. I wasn't sure if he was daydreaming or just blind drunk? In any case there didn't seem to be anyone at home. I guessed he was searching for his friend Oliver Reed who died from his excesses only a few weeks ago.

I tried to recall Russell's cinematic output, but could only remember the BBC's seminal arts documentary 'Pop Goes the Easel' - Featuring artists such as Peter Blake, Peter Phillips, Derek Boshier and Pauline Boty. (Above - Brigitte Bardot as seen in Peter Blake's Pop dream sequence).

On the evening train back to Nottingham, I read a damning critique on the the Tate's Turner Prize by the Evening Standard's art critic Brian Sewell. I noticed that one of the contenders for this year's prestigeous Turner Prize is Steven Pippin, whose irreverent yet inventive transformation of a rail-carriage toilet is pure genius.