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Video: Martin Creed at Kunsthalle Bar, Basel

by Martin Creed on 16 July 2005

A selection of new work from Martin Creed opened at the large east end space of Swiss gallery Hauser and Wirth this month. Creed is a recognisable name for the adding to the British media's age old consternation at how major British art institutions can support meaningless ordinariness such as rows of bricks and -this must surely be the Emperor’s New Clothes to cap them all- Creed's Turner Prize winning 'The Lights Going an and Off', an installation that did exactly that. In developing from this audacious, rather tongue in cheek minimalism Creed has chosen to make a number of discreet works, each conceived in rather a monumental way: a pile of cut wood, a giant girder, a very slow-motion, aestheticised film of sexual penetration, an incongruous painting of a smiling woman, and for the opening night only a literal 'slice' of an orchestra, which played with the light on and the lights off.

Kunsthalle Bar, Basel (with stills from Gavin Brown's kitchen, New York) Saturday 16th July, 2005.

A selection of new work from Martin Creed opened at the large east end space of Swiss gallery Hauser and Wirth this month. Creed is a recognisable name for the adding to the British media's age old consternation at how major British art institutions can support meaningless ordinariness such as rows of bricks and -this must surely be the Emperor’s New Clothes to cap them all- Creed's Turner Prize winning 'The Lights Going an and Off', an installation that did exactly that. In developing from this audacious, rather tongue in cheek minimalism Creed has chosen to make a number of discreet works, each conceived in rather a monumental way: a pile of cut wood, a giant girder, a very slow-motion, aestheticised film of sexual penetration, an incongruous painting of a smiling woman, and for the opening night only a literal 'slice' of an orchestra, which played with the light on and the lights off.

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