A mix of installation, still photography, video, painting, sound, water and black sand, are installed in all three MAC galleries:
Ceremony, 2017 in Upper Gallery
Delete Beach, 2o16, in the Tall Gallery
Free Fotolab, 2009 in the adjacent room
The meaning of Style,2011 in the Sunken Gallery
John Stuart Mill thought in On Liberty (1859) that a largely mistaken position can still contain some small elements of truth, as well as serving as a stimulus to thought by provoking us to demonstrate what is wrong with it. By “a mistaken position” I mean the decision to stretch the story of moving a mediocre sculpture of F Engels from a Ukrainian village to Manchester to 60 minutes. Visitors to the art gallery were overheard on returning the handout with words – “I do not have an hour ” – few others stayed. I did not watch it in its entirety, although visited it twice.
This installation with HD video, colour and sound have been supported by Arts Council England’s Ambition for Excellence, the BBC, the Henry Moore Foundation and My Festival Circle. No mere visitor can add to these fanfares. It was co-commissioned by 14 – 18 Now, Home, Manchester and the Manchester International Festival and produced by them, Shady Lane Production and Tigerlily Production.
Collins has a master’s touch to enliven the elements of truth with a chance and a whim as well as with meticulously planned and executed craft, which I sensed to be valuable for a film director.
The installation underestimates mute poetry, propping the visual thoughts at all times with words. As if the appropriation of a documentary mode cannot be visually beautiful and exciting without speaking. As if a video had not a gate for every value from vulgar curiosity to sublime imagination. Whim aligns with the description in visual terms, I recall one powerful detail, when the screen is filled with a part of the side of the container lorry. Vertigo ensued. Or the comical details of the torso of the statue anchored in a car tyre for stability. The images on the sides of the screen were bloodless. Lifeless in the shadows. Banal. They attracted curiosity and repelled the attention.
The world does not need another video. As if anticipating that fatigue, the appropriated mode and look of Japanese anime was projected in darkness on the screen and accessed over heaps of – what seems to be – polluted sand, black from oil, with puddles of dark liquid. Ostensibly, the environmental “death” revives the need to end dependence on fossil fuels.
Delete Beach (4 min 50 sec) was commissioned by Bergen Assembly and supported by Vestnorsk Filmsenter and the German Cultural Foundation.
Again, it is quite verbose, as if not trusting that visual thought can stand alone. It is an erroneous hope that independence from fossil fuels will remove inequality.
The Free Fotolab is a 35 mm slide projection of 80 anonymous archival photographs, the result of Collins’s call for rolls of undeveloped films. After being developed, they were returned to participants on condition that they relinquish the copyright to the artist. The images come from Milton Keynes, St Gallen, Belgrade, Eindhoven and Banja Luka (=my favourite stopover).
A jet photographic print Mici’s Last Night, 2002, completes the Tall Gallery installation.
As art belongs more to the viewer than its creator, Collins’s propulsive efficiency sways the installations and projections into a spectacle. The Meaning of Style, 2011, is a particularly immersive take on cinéma verité. Aesthetically it flattens into a stasis which insists on sameness. The wish to break free descends palpably in the views of men silently reading, or letting butterflies perch on one’s ear.
Made me think of Fluxus – specifically Eric Andersen’s mastery of “being busy” reading words backward.
Indeed, the economy of means matters, when escaping from that cave (Plato)