Wednesday night saw the launch of About Town, a video art exhibition presented by the Hippodrome in collaboration with Ikon Gallery. As its title suggests, the exhibition is spread out across a different urban spaces, all within the Southside area, from the Back-to-Backs and the theatre itself to Hurst Street’s Gallan Car Park. Free of charge, the exhibition is currently open to the public from 4-10pm daily until Sunday 16th November.
Intended to present some of the best in international video art and to provide viewers with a fresh perspective on familiar environments, About Town incorporates work ranging from intimate interviews to large-scale, multi-screen installation pieces. As the Hippodrome’s Chief Executive Stuart Griffiths explained, the exhibition was initially inspired by a visit to La Biennale international art festival in Venice, and the diversity of art on display reflects that of Birmingham itself.
About Town falls within the remit of Hippodrome Plus, the theatre’s continually expanding outdoor and outreach branch that also oversees things like Summer in Southside and the youth ambassador scheme. For Ikon, meanwhile, there was another motivation for getting involved: as the gallery prepares to celebrate its 50th anniversary next year, now is a great time to look back over some of the work it had displayed over the years.
Beginning in the Hippodrome’s own Qdos Lounge, Marjolyn Diikman’s Wandering Through the Future takes viewers on a journey through things to come as envisaged in the movies, with a series of film clips arranged chronologically according to their setting, from 2008 through to 802.701. This fun, playful exhibit prompts questions about the things we want and expect from the future.
Meanwhile, in the foyer, Kelly Mark’s Hiccup #2 shows the Canadian artist sitting in the same position on the steps of the old Birmingham Library at the same time for five consecutive days. The fact that, each day, many of the same people pass her without noticing her performing the same actions calls attention to both the many things we ignore in our daily routines and the monotony of modern life, themes that crop up again in various other exhibits.
Scattered around the theatre are a series of clips entitled Happiness in Mitte, depicting stray cats drinking milk left out by the artist, Adel Abdessemed, in Berlin’s Mitte district. This proved popular among conscious attendees, though the small, inconspicuous screens are easy to miss if you’re not looking for them, leading to parallels being drawn between this and Hiccup #2.
In the Back-to-Backs, a very ‘meta’ piece called Video Times shows the artist, Kevin Atherton, watching television, staring back at viewers from the screen he appears on. The film is accompanied by a magazine containing scripted directions for his actions, printed in the style of a TV listings guide like the Radio Times. Created in 1984, this self-reflexive yet oddly cosy and domestic piece predates not only reality shows like Gogglebox and Big Brother, but also the culture of CCTV surveillance to which we’ve now become accustomed.
Upstairs, Heather and Ivan Morison invite viewers to enjoy the simple pleasures of an English country garden, while next door, a series of fascinating extracts from Cornelia Parker’s interview with Noam Chomsky demand a little more of our time. Santiago Serra’s Person Saying a Phrase deals with the issue of homelessness, another subject that emerges more than once in this exhibition.
One of About Town‘s most eye-catching and instantly engaging pieces is Birmingham-born Grace Ndiritu’s The Nightingale, showing in Route 2 Havana Car Park opposite Southside’s Nightingale gay club. Her piece explores issues of identity and stereotyping with regards to race and gender, using the simple tool of a red, patterned scarf. By variously becoming, through a series of transformational movements, a headscarf, blindfold, hajib, burka, veil, bandanna, turban, gag and purdah, the scarf playfully references an assortment of different cultures, all present in the multicultural melting pot of the West Midlands.
The exhibition culminates in a sensory feast in Gallan Car Park, where a series of huge installations are displayed side-by-side, surrounding viewers with light and sound. Like Saying a Phrase, Roy Arden’s Citizen tackles the issue of homelessness, showing a young man in the centre of a traffic intersection as seen from a moving car. Like Hiccup #2, Citizen also prompts reflection on the things we often fail to see.
Junebum Park’s 1 Parking and Oliver Beer’s Pay and Display are well-suited to the car park setting. The latter features some eerie choral work by Ex Cathedra and some slightly scary, emotionless performances from children: it’s certainly one to hold your attention, as long as you’re not put off by its creepiness! Meanwhile, Yang Zhenzhong’s Let’s Puff places viewers in between two screens, one showing a busy Shanghai Street, the other showing a woman blowing air in sharp bursts. As she exhales, the scene opposite shifts, and we find ourselves thrown into another part of the street.
The most instantly emotive and visceral of the exhibits, however, must be Gillian Wearing’s Broad Street. In this (at times uncomfortably) immersive piece, viewers find themselves ringed about with screens showing club-goers courting, arguing and otherwise interacting in central Birmingham, with lots of alcohol involved. Experiencing this in a dark, chilly car park has the effect of making us feel as though we’re really out at night on Broad Street. Troublingly voyeuristic though strangely fascinating, the installation is sure to inspire a variety of reactions depending on viewers’ own experiences of similar nights out.
About Town is showing across Southside until Sunday 16th November, from 4-10pm. For more information, visit the Birmingham Hippodrome website.
All images by Mark Rhodes except still from Grace Ndiritu’s The Nightingale.