Obsession and phobia, personal, collective and social. The three artists chosen for this exhibition illustrate, by way of example, the effervescent English artistic climate. Through their work they bear witness not only to a local situation, but also to the more universal state of mind of the young urban generations.
Martin Creed is scottish, he was born in Wakefield in 1966. He has studied in Glasgow and London. In his work he generally confront the problem of rules and rhythms, of prolific and uncontrolled growth, sustained, however, by inflexible methodology. This applies to the plastic cubes which he layered around the walls of a particular place, all at the same height, all accordino to the plan, which takes into account the characteristics of the place, sparing not even the tiniest hidden corner. The result is that of almost vegetable-like protuberances, mould, parasites, rule which signal space and time, out of rhythm with each other, but all corresponding to a definite rule which is by no mean a casual deduction. The obsessive search for a law can bring about anomolous results.
Tania Kovats was born in Brighton in Sussex in 1966. Her first mature works, all from the nineties, demostrate a morbid obsession with religious phenomena. Above all with the Madonna figure, presented in drawings which recall the imaginary world of Kitsch, presented in the form of a statuette irreverently closed inside a condom, the important missing guest, but still expected in the visionry shepherdless cave. The artist oscillates between the most real tension found in the trascendental, which can also be found in the various installations in which only a primordial white hits the eyes ob the observr, and the popular version of every form od devotion.
Gillian Wearing, born in Birmingham in 1963, has dircted her research towards an area which is more decisevely sociological. For example she asked over four hundred people to have themselves photographed holding a placard on which each had written an improptu personal thought. Anothe series of her work saw her as the protagonist of dangerous but also tender encounters with transvestites, in which beds she photographed herself, convincing them to accept her between their sheets and to show the most domesticated side of themselves. Her last work is a video which bears witness to the lives of young rock lovers, involved in the music to the point of making it the pulsating centre of their own existence.
In these three cases we find different components more or less orientatedto emotionally affect the public, but they are brought together by a continuing oscillation between a subjective expression of youth starving for security, and an objective revelation of an uncertain, uneven and complex ground, just like a multiracial metropolis.