March Arts Review Roundup: Subversive Stories and Youth In Revolt
In this review roundup Lucy Pratt takes a look at the latest on offer from the Arnolfini and Vonalina Cake reviews Ryan O’Shea’s queer theatre.
Paula Rego: Subversive Stories
Arnolfini Gallery, Bristol
Literature is a thread woven through much of the fabric of Paula Rego’s art. Referencing various narratives from folklore and fairytales to classic literature and poetry, it’s clear that, here, the familiar scripts of the past are to be rewritten. “I start to tell a story… I never know what’s going to happen with it”, she says. From 5th February until 29th May, ‘Subversive Stories’ is on display at The Arnolfini Gallery, Bristol.
Rego’s own love of stories began in early childhood. It is fitting, then, that Subversive Stories opens with works referencing youthful nursery rhymes, fables and fairy tales. The influence of Rego’s fascination with Beatrix Potter is evident, with animals in human dress interacting and navigating spaces on an equal plane to their human counterparts. The artworks are imbued with an Angela Carter-esque comedic horror. ‘Polly’ of ‘Polly Put The Kettle On’ is gigantic, looming over a table of comparatively miniature men… The ‘farmer’s wife’ of ‘Three Blind Mice’ nonchalantly wields a knife, clutching three mice tails - her murine counterparts amble aimlessly. Focus on nursery rhymes is not to say that these works are childish or playful. I believe that Rego was too informed by the radical women of art history - ‘The Executioners’ presents an appropriate likeness to Artemisia Gentileschi’s ‘Judith Slaying Holofernes’.
If this first room is to focus on childhood, the next space acts as an entry to adulthood. As I walk the space I recognise contorted scenes from popular, more mature stories such as, Emily Bronte’s ‘Jane Eyre’; amongst these are less familiar ones, some historic and others more contemporary. Rego opens a counter-dialogue with these tales, deconstructing and reassembling each one into something altogether more sinister.
It’s clear that women sit at the epicentre of Rego’s artworks. They gurn and grimace, defiantly wrangling traditional notions of femininity into something altogether more confronting. The mermaid of ‘Peter Pan’, traditionally associated with a mysterious, svelte elegance are murderous - we watch her clutch Wendy’s shoulders, holding her hostage beneath the water. In JM Barrie’s original story, Wendy is depicted as a traditional, innocent and motherly young girl. The work symbolically eradicates this conception of women and girls, overpowered by the mermaid’s menace. This alternative notion of the feminine runs throughout ‘Subversive Stories’.
It is easy to delight in Rego’s unique, layered and profound narratives. She cleverly masks the gruesome, uncomfortable and horrific in a childish guise. However, the exhibition’s final room takes a notable turn with the display of Rego’s ‘Female Genital Mutilation’. It is an abrupt confrontation, with all that had previously been packaged within the folds of fictional narrative becoming unmistakably real. Instead of using fictional stories as inspiration, here Rego uses Portugal’s 1998 abortion referendum as her stimulus. Poor voter turn-out resulted in no change to the law - abortion remained illegal in the country as such. This political event would go on to inspire ‘The Abortion Series’ which in turn brought about the artworks in the exhibition’s final room, which focuses on FGM. She confronts the subject explicitly in each work - writhing women, set horizontal upon tables, are restrained by a clutch of towering figures. The works are harrowing - if there was anyone uncertain of the reality of the darkness and cruelty that underpins much of Rego’s artwork, it is these pieces that destroy any doubt.
You can see Paula Rego’s work at The Arnolfini until 29th May.
Written by Lucy Pratt
I'm Lucy, a 24 y/o Liberal Arts graduate in Bristol working in arts marketing and research. I’m particularly interested in access, and creating ways for all kinds of people from all kinds of communities to experience the arts. Fave colour: green; fave animal: frogs.
Ryan O’Shea ~ I_RAN ~ The Mount Without ~ Bristol
Ryan O’Shea is a queer theatre maker from the South West of England. Using a blend of technology and physicality, he brings small stories to life and explores the edges of existence and the otherness that resides there. In his manifesto he talks of honesty, play and awareness being the pillars of his work.
Currently having a European adventure, he came home to Bristol to bring us his solo show, I_RAN. Long percolated and worked on it explores anxiety and the human desire to run away from emotion. Preparations began pre pandemic and just as he was about to delve in, Covid hit.
Ryan approached Arts Council England for funding to develop and produce his show and received it just as the UK went into full lockdown. Consequently he had to sit on that egg for a while before cracking it open and getting on with the show. A lot changed for Ryan in the intervening two years since its inception; he moved to the Netherlands to study for a Masters degree and many of the processes previously employed in his artistic and performative practice have changed and evolved, but it was important to keep the initial integrity and stylings intact.
The show is built around the lyrics of “I Ran (So Far Away)” by 80’s new wave synth-pop band A Flock Of Seagulls. Throughout the performance I could identify my teenage self; awkward and desperate for invitation and approval. It was incredibly evocative.
Using a treadmill to literally run away but stay in the same fixed point, and a wire-free scrolling LED text bar to display lyrics and notations through his journey, we were transported into a surreal soundscape with abstract visuals and driving music that beautifully illustrated the feelings of wanting to bolt. It was emotional and witty, using strong lighting and expertly timed cues. I particularly liked the way he conveyed walking down a tree lined street and putting on clothes for the fancy dress party. Theme: ANIMALS.
In the aftershow Q&A with Tom Marshman, Ryan told us it was more of a duet really with his sound/lighting producer Mark Hawkhead who’s been working closely on this project with him since the start. This was a show so well executed and with little room for spontaneity; it was like watching a tightly choreographed dance routine.
The Mount Without is a really extraordinary place; a church with a lot of history and damage. It was brought back to use after a fire in 2016 and now runs as an events venue. Residents of the building, The Impermanence Theatre, have half the access to the space and run a programme of classes, performance and workshops.
Ryan had his beautiful mirrored stage set up at the altar and really brought the place to life with the clever use of sound and lighting to bring us every emotion of his show. Using the space imaginatively with a contained area to perform in, it felt intimate despite the vast size. Through the performance we discover just how nervous and excited our mute solo performer really is and it resonates deeply with many of us in the audience. By the end that shiny stage is littered with feathers, footprints and crushed dixie cups; perhaps representing our crushed dreams or our frustration at the depth our fragile minds can take us sometimes. But we’re also left with a feeling of a full circle tale told and a new hope rising up with the sun. Most of us also remember…you get over it, eventually!
You can find out more about Ryan's work here. This is definitely one young artist to watch.
I’m Von Cake, a freelance photographer and writer. I’ve been writing for The Everyday since its inception and have really enjoyed the freedom to explore my journalistic desires through this medium. Most of my pieces are self explorations and reminiscences of my own life. Through this lens I can explore various cultures and movements. Even when I try not to, I often find myself in the writing. My dream is to be a photographer and writer full time and earn enough to live well from it. My favourite places to be are in the pit at the gig or in my writing chair at home. I was told to stop daydreaming out of the window a lot at school. Well...I never stopped. Keep dreaming.
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