Masculinity is at the core of Gary Clarke's best work: from “Bagofti” which used masks to distort through Francis Bacon's violent triptychs, to the surreal, dreamlike “2 Men and A Michael” and “Horsemeat,” his is an iconoclastic approach to the representation of modern men. So it is with “Wasteland,” the follow-up to his award-winning “Coal.” “Wasteland” interrogates the effects of the closure of mines (in this instance, the Grimethorpe Colliery) on the local working-class male community, and the galvanising influence of rave culture on the younger lads. Using film footage, video work from Charles Webber and live vocals from local men with links to the local mining community, it's a real labour of love from Clarke, and stridently political.
Gary Clarke's “Wasteland.” Photograph by Joe Armitage
When a choreographer takes on volcanic and iconic works from American musical giants like Leonard Bernstein and John Adams one move they could take is to cool them down with a couple of more soothing European works in between.Continua a leggere