The Magnetic Fields

I went to the White Cube Gallery in Bermondsey to see 2 new free exhibitions. As usual with galleries at the moment I had to book a slot to attend in advance, even for free shows. On arrival I was checked as present and thus registered for tracking. All the usual pandemic precautions are in force.

First I saw the show of work by Takis. In case that link is broken in future, here are the basic details in the handout available:

In the 9x9x9 gallery:

The works here, left to right, are: “Signal” (1974), “Signal” (1979), “Signal” (1976), and “Signal” (1980).

Faintly reminiscent of Magritte’s “The Black Flag” (1937).

In South Gallery, we have “Electromagnetic Sphere” (1979):

“Tele-Painting” (1960):

“Signal” (several works from 1970-4):

More “Signal”s (1966-79):

Left to right: “Female Figure” (1962), “Idole” (1957), “Interior Space” (1957), another “Interior Space” (1957), 5 more “Signal”s (1968-78), “Oedipus And Antigone” (1954)

Again, but also with “Erotic” (1980):

Into the next section, and we hear sounds generated by the “Musical” boxes, such as this one:

A periodic magnetic pulse causes the dangling rod to be pulled on the metal string, creating scratchy guitar sounds that are amplified. As I can’t see the circuit diagram I don’t know how often or how determinately the effect is produced or whether there are further feedback loops occurring. This installation is dated 1968.

“Electromagnetic Sphere” (1970), which precesses about its axis:

“Magnetic Wall – The Fourth Dimension” (1999-2002):

“Three Musicals” (1977):

“Magnetic Wall” (1970):

“Magnetic Flowers (White Magnetic Wall)” (2002):

“Electromagnetic Sphere” (1966):

“Magnetron” (1966):

“Magnetic Brain” (1975):

Then to the Bronwyn Katz exhibition.

The works all look like variations on two themes, and they all have astronomical names: “Orion’s Belt”, “Magellanic Clouds” and so on, named bilingually.

On the way out I see the work in the forecourt again, it’s “Aeolian” (1983) by Takis, and it periodically revolves itself.

Then over the road to “Fuckoffee”, which I’m happy to see has now given up on Soviet poster art chic and pictures of now-discredited noughties celebrities, though it does still have the Arthur Scargill print. As well as some possibly sincere, non-ironic signage such as this:

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