OPENED NOV 8, 2013.
the show runs thru DEC 21, 2013.

MARTIN CREED at . . the opening.

of course the show stopper was this ‘car’ . . on an ‘activation’ loop, just outside the gallery. was / is.
it’s still out there, it’s part of the exhibit !!

MARTIN CREED, ‘Work No. 1686’, 2013, Ford Focus. 70 x 160 x 80 in.

a Brit model of an American car. the driver’s side was on the right hand side. the car pops to life every few minutes. first the ignition comes on, purrs very loud. then the doors and trunk and hood pop open, and a soundtrack engages that mimics a real time sports radio.
it is very surprising, when it engages.

MARTIN CREED, ‘Work No. 1788’, 2013. Cinder Blocks. 157-1/2 x 371-1/2 x 162-1/2 in.

inside, the pyramid.
Pyramids seem to hold a special attraction to this artist.

so when you’re good and sick of ‘dots’ . . you know where to head.

cinder blocks, up close and personal.

a sound proof, temporary ‘chamber’ was built-up . . in the gallery.

inside a movie looped over and over, on a wall-sized screen.

unlike that 2010 ‘male rising’ clip . . this one spoke to bio ‘fragility’.

the subjects were ‘physically’ challenged, ‘gravity’ was a challenge.
let’s just say they were various: ‘gimpy’, and leave it at that.

MARTIN CREED, ‘Work No. 1701’, 2013. Digital film. TRT 4:15 mins.

this guy was my fave. even though he looked to be all there . . he had to hop across that intersection, which just happens to be the intersection that faces the gallery at Greenwich. check: the Fed Ex office.
though it did oddly also reference . . the BEATLES.

people had to decide for themselves, if the film ‘crossed’ the line. of good behavior, political correctness.

I had no issues, since the accompanying music, a song composed and performed by Martin Creed himself .. was so snappy. so snappy it made me want to dance.

a dancing fool, not so far ‘mentally’ from the impaired ‘strollers’ ? hmm.
a dancing fool .. in close proximity to the physically impaired ?!!

it was a strange tension, to feel so moved to move, while witnessing people who barely .. could.

hmm, and then there’s .. hmm.
could this guy be an ‘escapee’ from the night’s concurrent Bruce High Quality Foundation opening.
the thought did cross my mind.

THE BHQF vs the impaired, now there’s a thought.

hmm, why are these paintings so much more interesting so small, as opposed to large ?

MARTIN CREED, ‘Work No. 1749’, Gabriella, 2013. Acrylic on canvas, 12-3/4 x 9-1/8 in.

on the left, the small colorful painting:
MARTIN CREED, ‘Work No. 1775’, 2013, Acrylic on canvas, 47-1/2 x 47-/2 in.

intersecting the space:
MARTIN CREED, ‘Work No. 1784’, 2013. I-Beams. 97-3/4 x 240 x 6-1/2 in.

spatial play. everyday materials.


so you can see just how ‘animating’ . . those I-beams can be.


MARTIN CREED, ‘Work No. 1697’, 2013. Brick and Mortar. 156 x 156 x 12 in.

there’s brick walls, and then, there’s brick walls.
you can run into a brick wall, but there’s always … eventually, the corner where it ends, and you can do a ‘turn around’.
in life, as in art. as the saying goes.
a nice definition of: finite.
while the ‘principle’ itself, is: infinite.

a viewer engages with . .

MARTIN CREED, ‘Work No. 1718’, Elizabeth. 2013. Acrylic and pencil on canvas.
19-7/8 x 16 in.

local artists . . . you might recognize them, if you really get around, esp in the dark. on the wild side.

LANCE. New Order. The Good Order.
oh, to be an art world .. kickass RAMBO !!
The Hidden order. ha.

come to think on it, that’s alot of what this show is about . . hidden order.

MARTIN CREED, ‘WORK NO. TBC”, Acrylic on canvas, 18-7/8 x 15 -7/8

yep, with the contemporary art world in a bonafide fever, this season . .
it’s the whip smart pyramid-obsessed Brit, MARTIN CREED vs. the Japanese dot-obsessed 84 yr. old dame, YAYOI KUSAMA.

like I said, when you’re tired of being ‘dotty’, you can go get . . ‘lucky’.