Neil Stoker
16mm delights
My first encounter was a brief reconnaissance, a dash not unlike Martin Creed’s Work No. 850 that had been performed 134,000 times one floor up. Goshka Macuga’s room seemed clean and polished; Cathy Wilkes’ seemed to be trying hard; Runa Islam? I wasn’t sure; and Mark Leckey’s section seemed confusing.
Unconventional classification
This is a diverting exhibition, and I was certainly engaged while meandering through the four floors of the gallery, the setting of which was very appropriate for this catholic set of ephemera. I particularly enjoyed Pae White’s striking tapestry suspended between the top two floors, and the stunning patterns produced by Marey’s 1901 smoke machine (I want one!).
Rigorous geometry
Coppermill is an imposing East-End venue, high-roofed, full of architectural interest, yet small enough to feel intimate. Martin Creed responded to the strong geometric features, combining sound with a variety of visual media, making a rewarding final show in Hauser and Wirth’s series of three at Coppermill.
