Horror show! Review – Bands, TV Shows, and Artists Who Revealed Britain’s Wicked Psyche | art

seece Shearsmith’s severed head rests on a purple pillow, his eyes open, and his mouth open. The Actor and Writer Bonus is a pillar of 2018 Inside No 9 Halloween Especially where he and Steve Pemberton play themselves in a livestream that goes eerily wrong, as malevolent ghosts invade a TV studio. It is presented here not as a joke or an antique, but as a relic of idealism. Fans of the black comedy Inside No 9 will know that the creators have a real passion for horror, shared entirely by the show’s witch cauldron.

Keri Stewart The Boy from the Chemist Is Here to See You, 1993.
Keri Stewart The Boy from the Chemist Is Here to See You, 1993. Photo: Courtesy of Keri Stewart

this, no London Store dungeons of horror – this does not mean that there are no fears. Keri Stewart’s 1993 installation The Boy From the Chemist Is Here to See You definitely gave me a creep. It consists of a door with a frosted glass pane through which you see the broken face of the child, which is in fact the shape of a charity fund, and its frosted painted features add to the concern.

This unholy marriage of conceptual art and supernatural dread is good evidence of The Horror Show’s claim that the Gothic subculture is the true maverick virus of modern British imagination. The story that is told here begins with the hypnosis chanting of Death of Bella Lugosi by the pioneering goths of the Bauhaus, making arguing with every rhythm resonate this punk has always been goth, and gothic is its natural evolution.

The show manages to say something new about the worn-out story of the British youth rebellion of the 1970s: instead of the now vulgar Jimmy Reed, sex pistols pictures It includes his drawing of a giant green owl-like monster perched above a suburban house. A monster on a beautiful roof Dreams of impossible creatures coming to destroy normal life. Another monster on the outside materializes when you come across one of these 6′ 3′ performers. Lee PoiriCostumes, a green leather gimp mask, fake breasts and a cloak towering above you.

Jimmy Reed's monster on a beautiful roof, 1972.
Jimmy Reed’s monster on a beautiful roof, 1972. Photography: Jimmy Reed. Courtesy of John Marchant Gallery

The devil is in the details, they say, and it’s the enthusiasm of the curators — artists Ian Forsyth and Jane Pollard, along with Claire Caterall of Somerset House — for a pop culture legend that makes their treatise as rich and complex as the woods. Who knew that Mark E. Smith of the Fall was a fan of the late Victorian horror writer Arthur Machine The author of the book Almighty God Pan? They do, and prove it with letters from Smith to the Arthur Machine Society. Another echo of classic horror literature is the sequence of artworks created by Richard Wells for Mark Gates BBC latest drama From Mezzotint by M.R. James: As you study old prints of a country house, at first glance identical, a ghostly figure begins to make its way through the grass towards you.

There is romance at the heart of this gallery, a dream search for old Britain that is always a little elusive. film director Nick Rogue He has a case for himself: his version includes the Daphne du Maurier stories that inspired his masterpiece Don’t look now. Elsewhere, there are black and white footage of the making of Robin Hardy’s popular horror wicker manand the personal script of Christopher Lee.

The repressed return of Jake and Dinos Chapman.
The repressed return of Jake and Dinos Chapman. Photography: Jake and Dinos Chapman

You can’t blame a show called The Horror Show for being steeped in nostalgia. Horror is not healthy nor should it be. Nostalgia for the joy department is a case in point. Ian Curtis, the singer with the terrifyingly beautiful Manchester band, was already dead by suicide when we teens in the ’80s passed around their records like relics. However, Curtis haunts this show – and even, he suggests, British Art Nouveau. Kevin CumminsAn image of a snow-covered Manchester motorway, sliding etherealistically from bleak reality into ghostly nothingness, from his January 1979 depiction of the group. Graham Dolphin’s 2012 sculpture, Door (Joy Division Version) Tears You Down After a Decade: Seems to be a Preserved Door from some Squatted long ago, painted a pale gray and covered in graffiti – “RIP IAN”, “IAN C”.

Self-Portrait as a Drowned Man (Willow), 2011, by Jeremy Millar.
Self-Portrait as a Drowned Man (Willow), 2011, by Jeremy Millar. Photography: Jeremy Millar. Courtesy of the artist.

This ghost door shows opposite images of Rachel Whitetrade’s house, the most enduring and most elusive memorial of British Art Nouveau: this concrete mold of a ruined house was torn down, a masterpiece that survives only as a ghost. We are provocatively invited to compare Whiteread and Joy Division as artists.

Trojan and Mark in Tabu, London, 1986, by Derek Ridgers.
Trojan and Mark in Tabu, London, 1986, by Derek Ridgers. Photo: Derek Ridgers / Courtesy of Derek Ridgers Publications

There’s Another Britain, this show convinces you, exists only as a web of fantasy, an imaginary world that challenges everyday reality like a ghost channel taking over your TV. Curators’ obsession is notorious 1992 BBC Justwatch The broadcast, which looked like a live broadcast was interrupted by supernatural forces. This appears in frightening fragments. You can see why viewers are scared – and why he recreated Inside No 9.

I began to believe that all exhibitions of contemporary art should be moderated by artists. Pollard and Forsyth are unaffected by the cumbersome rationalities that often crush performances. You need to think like an artist so you can connect many gothic threads, take on a funny and dangerous pose at the same time, leaving us unsure whether we should laugh, scream or cry.

A good comedy moment is the mask of Bollo the gorilla from The Mighty Boosh. Associated well with Angus Fairhurst PietaA picture of him nude and apparently dead in the arms of a stuffed gorilla. Fairhurst, who died in 2008, is another ghost in the gallery, walking in the shadows here, whispering art’s power to resist.

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