Art Review : Angel Camp – First Songs : Emmanuelle Antille
Showing at CCA Glasgow until 26th September 2004
There is a subtle shift as you move in to the CCA from Sauchiehall Street, small speakers situated around the doors play a soft soundtrack in to the large CCA:1 space, but it is the photographic approach to the fictional narrative of Antille’s work which carries you through from CCA:1 into CCA:2. Prints titled ‘The Big Cave’, ‘Pirate Jeanne’, and ‘The Princess of the Creek’ begin to imbibe a sense of the disjunction of these people and the environment that they are in. Arranged as a collection they have an individual power that is strong because they are grouped. The scenarios and the people are such that they need to play off each other in order to re-enforce each narrative, whilst also having the power to negate each other.
This continues through to CCA:3 where the four screen video projection plays a split edit of the feature length film. Beautifully edited the filmic narrative starts to entwine itself around the imagery of the previous gallery spaces and the soft blue/pink light that is being cast by the neon sign, “Angel Camp:First Songs” at the end of the space. It is amusing, non-sensical and even a bit uncomfortable to watch. Void of any background as to why these people are together, in this place, apart from the vague notion of Hurricane Hazel’s devastation of the area nearly a year ago, the behaviour of barking, wailing, and youthful idiocy from people who are old enough to know better points towards a shift in the society’s priorities. It becomes unclear who is the child, the small girl or the adults that surround her. As a result, you leave the gallery with more questions than when you entered.
for more information see www.cca-glasgow.com
There is a subtle shift as you move in to the CCA from Sauchiehall Street, small speakers situated around the doors play a soft soundtrack in to the large CCA:1 space, but it is the photographic approach to the fictional narrative of Antille’s work which carries you through from CCA:1 into CCA:2. Prints titled ‘The Big Cave’, ‘Pirate Jeanne’, and ‘The Princess of the Creek’ begin to imbibe a sense of the disjunction of these people and the environment that they are in. Arranged as a collection they have an individual power that is strong because they are grouped. The scenarios and the people are such that they need to play off each other in order to re-enforce each narrative, whilst also having the power to negate each other.
This continues through to CCA:3 where the four screen video projection plays a split edit of the feature length film. Beautifully edited the filmic narrative starts to entwine itself around the imagery of the previous gallery spaces and the soft blue/pink light that is being cast by the neon sign, “Angel Camp:First Songs” at the end of the space. It is amusing, non-sensical and even a bit uncomfortable to watch. Void of any background as to why these people are together, in this place, apart from the vague notion of Hurricane Hazel’s devastation of the area nearly a year ago, the behaviour of barking, wailing, and youthful idiocy from people who are old enough to know better points towards a shift in the society’s priorities. It becomes unclear who is the child, the small girl or the adults that surround her. As a result, you leave the gallery with more questions than when you entered.
for more information see www.cca-glasgow.com
posted by Lucy (UK) at 9:35 pm
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