THE FREEDOM OF NEGATIVE EXPRESSION
Installation: blacked out space (1050 x 550 cm), mini DV projection (30" loop; 430 cm wide) 2 x aqua-resin, gouache and brass sculptures, script
The Freedom of Negative Expression, 2006 (detail: video loop)
Blacked out space (1050 x 550 cm) with mini dv projection (30"loop; 430 cm wide). This is symmetrically framed by a pair of aqua-resin, gouache and brass sculptures – resembling lightning bolts (positioned at 260 cm from the screen), which cast their shadow on the projection, and illuminated with narrow beams of light. A script sits on a shelf outside the entrance. The British Constructivist’s role is written by Tirdad Zolghadr, after an account of a meeting between Evans and artist Gillian Wise. Will Bradley scripted The Nihilist and in collaboration with the artist produced a production treatment for The Freedom of Negative Expression a plot-by-plot breakdown for the pilot of a TV series – with the tagline Betrayal is a Fine Art.
A young man holds a conversation on the telephone and roams his spacious appartment restlessly. He switches the lights on and off, smokes imported cigarettes, sips red wine and skips the expensive stylus of a record player over a Wagner LP. Fragments of the exchange are heard.
“I agree with Borges that mirrors and copulation are obscene, because they increase the numbers of men…[VO: Philip, a well-heeled nihilist in his early thirties] The mirror’s illusion of depth is of no use to us because it is already filled with an image of the world.”
“I always say I believe in transparency, not reflection. Reflection is random, it mirrors whatever’s happening in the room. [VO: Gillian, a former member of the British constructivists, known for her uncompromising views on the misuse of the arts to consolidate the status quo.] And yet it is a double fraud in that it simultaneously suggests the illusion of depth. Of course the art world is particularly interesting for minorities and all the other downtrodden – since it offers all the possibilities of menial jobs within its very core.”
[VO: Together they are creating The Freedom of Negative Expression. The productive potentials of negativity and political paranoia are at stake.]
“We must realise: The Freedom of Negative Expression is an image of both the constant unwinnable struggle against the unfolding of future events; and of the false consciousness of our own time.”
'Art and Class: The Arnolfini Pictures Privilige', Laura Allsop, The Guardian, 20th May 2009
Lapdogs of the Bourgeoisie, Gasworks, London, 2006; Lapdogs of the Bourgeoisie, Platform Garanti, Istanbul, 2007; Left Pop, Moscow Biennial,
Moscow, 2007; Destroy Athens, Athens Biennale, Athens, 2007; Lapdogs of the Bourgeoisie, Tensta Konsthall, Stockholm, 2007; Lapdogs of the Bourgeoisie, Arnolfini, Bristol, 2009; The Malady of Writing, Museu d’Art, Contemporani de Barcelona, Barcelona, 2009; Bent Aura, Outpost, Norwich, 2007, (solo); The Freedom of Negative Expression, Chapter, Cardiff, 2007 (solo); The Cell That Doesn’t Believe In The Mind That It’s Part Of, Marres, Centre for Contemporary Culture, Maastricht, 2010 (solo).