'Art
Just kidding
'Evan Anthony
Ever since the Robert Morris exhibition was destroyed by art lovers at the Tate, there has been a gap in the art world — nothing for the kiddies to romp around in (who wants just to look?), and little chance that Morris could be persuaded to use his carpentry skills again in London, and see ramps, barrels and climbing frames turned into firewood. (Talk about your Arsenal supporters!) The Serpentine Gallery has tried, usually around a Bank Holiday time, to fill that gap, and a good time was had by all last year — playing with inflatables, frolicking in the painted grass etc. But the nasty old Department of the Environment got very stuffy and stopped all that 'Art ' last Easter. (Hiss! Boo!) However, second thoughts have prevailed, it seems, and it's fun time once more at the Serpentine: ten days of organised spontaneity, with audience participation encouraged because, well, communication and losing inhibitions is what it's all about, isn't it? The only restriction imposed upon all this creativity is that sound may not be used. (Car drivers, note that! quiet as you whizz past the gallery.)
Among the events will be 'The Great Exhibition of 1973' (presented by 'Natural Theatre ') wherein, "Clowns, so-called' normals ' and ' ordinaries ' interact, preserving their studied calm while threading an element of the bizarre through orthodox and banal proceedings. What they want from the audience is a relaxing of inhibitions and preconceptions as a preliminary to true participation." No? Not really you? Then how about Liberation Films or Workshops with a variety of manifestos: "We are interested in raving, boozing, jazz, high art, poetry ... " or: "The aim of this project is to convey the irrelevant and repressive atmosphere of traditional education . . " or: " Not a collection of skills but an eradication of blocks."
Should none of that tempt you, I think you might be charmed by the personable duo, Shirley Cameron and Roland Miller, who do a star turn, combining ' art' and ' theatre '. They improvise within a structural framework. Shirley occupies a circle in the centre of the room, building a tower made up of pieces of her old sculptures and art objects. Each day she intends to plant a new circle of flowers, creating concentric circles. Roland's thing is to use bottles of coloured liquid placed on a shelf that continues round the room. Their activity is called 'Naming our Vision,' and as I understand it, Roland is against the labelling of things, while Shirley is obsessed with the excitement of -giving names to things. (I hope I've got that right.) As to what's happens then, or (dare I say it?) the purpose of it all . . oh well, the play is obviously going to be the thing.
By contrast, the Tate's Educaden Department overstates its purpose in Kidsplay: "A newly created participatory experience. for children." That kind of' labelling ' draws me closer to Roland Miller. An irritating thing about the claims made for this little exhibition is that it makes a fait ac compli out of a thesis "It transforms work into play. In fact it destroys the artificial division between the two." What is offered is pleasant enough — reasonably attractive, but slight. There are mazes, an upside down room, trick mirrors, and a sound-effects chamber producing the most irritating buzzing noise imaginable. (Department of the Environment, where are you?)
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