Megan's Head

A place where Megan gets off her head.

Category: art

Brett and Exhibit B

I have been properly unsettled by the many thoughts I have had over the banning of Brett Bailey’s performance art piece Exhibit B at The Barbican in the UK. I don’t think any art should ever be banned. But no, that isn’t entirely, 100% true. A starving dog was once on exhibition. That needed to be banned. I was convinced that the pig-cutting-up exhibition could have done with further curating. So I have blurred boundaries too it seems.

I need to say that I have not seen Exhibit B. I have seen (and loved and hated) lots of Brett Bailey’s work. I have experienced his work in turns as extraordinary, brave, outrageous, creative, radical, passionate, inappropriate, scandalous, successful, flawed, beautiful and even boring. His work is controversial. So is he. He likes challenging an audience. I like that too. I know that Brett is brave and strong, and when he makes work it is to shake things up a lot, especially notions of colonialism, black politics, identity, slavery, Africa and women. His interpretation of Medea was magnificent. Big Dada might have been one of my best ever theatrical experiences.

So, should we take Brett’s history into account when we talk about Exhibit B? Can we? Does the work need to stand (or fall) on its own? Is his work different in a South African context? If it is, is this its flaw? These are just questions I pose without answers, and here is the reason. You can’t tell people how to feel. I know that Brett is heart sore that the very people he was hoping to represent, to express, to give voice to in his piece are the ones that have formed the angry mob against his work being seen. Young, black and angry, some people in this mob have not even seen the piece (although, contrary to a lot of Facebook rage a lot actually have). And here is the deal. They don’t like what the piece says, for or about them. Should this make it banned? I don’t think so. It destroys any possibility of robust debate. it destroys any freedom of expression. It destroys the possibility of actually calling Brett on his stuff; intention, result, execution. It means that the artists (performers) do not get a chance to speak for themselves, outside of the silence they uphold during the exhibition. And we don’t know what they would say, in answer to the outrage, the accusations of racism, the calls for Brett’s scalp.

So, we don’t get a chance to decide whether the work is great or terrible. We don’t get a chance to analyse, debate, criticise, disagree. We effectively don’t get a chance to engage with the artist at all. What a waste.

But, I there is one thing that keeps niggling me and that is the nature of the work. It isn’t theatre. It is an exhibition. There is no story. So the audience is required to interpret, to give meaning to this thing. There is no actual narrative, no beginning, middle, end, no journey of characters traveling. It is in the eye of the beholder. And, certainly in my experience, you can tell (and show) people how you feel, but you can’t tell people what and how to feel. They will feel things, and it may not be what you want them to feel. With Brett’s other work, what he feels and the journey he is taking you on, however obscure, is still more visible, deliberate, accessible. That’s because it is theatre. There is a story. I wonder.

What do you think?


Surprising, outrageous, extraordinary artist Casper de Vries

Face Like Potato

Face Like Potato

So, Casper de Vries was our celebrity guest on our regular Monday night improv night at The Galloway Theatre last night (and it was totally fantastic by the way). Before the show we were chatting and I found out that he was actually in Cape Town because he was exhibiting his paintings, at Artscape. I had seen one of them, of his gorgeous hound Halfrieda, on twitter or facebum, and I remember being suitably impressed. After our chat I realised that I had some time this week, and so this morning I popped into the Marble Foyer at Artscape to take a look.

Euphoric Cavewoman

Euphoric Cavewoman

So, honestly, I was curious, and nervous. I mean, what does hilarious performer Casper de Vries know about painting? I mean, I dabble. And I enjoy myself, but I am not very good and I know it. And I was totally blown away. Casper’s work is extraordinary, for many reasons. First of all it is particularly honest and unpretentious. It is also hilarious. And he is really, really skilled. It is layered and detailed and full of meaning. It is curious, and strange, and diverse and highly original.

I was treated to a live in-ear radio guide in the form of Casper himself who took me through each work. It was delicious, and moving and so clever, and totally hilarious. It was an inspiring hour and I want everyone to know, and for those that can to go and check it out. The pics are of my favourite favourites.



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