INTERFACE

REVIEW

Sweet Bird of Youth

Arndt & Partner
7 July 2007 to 8 August 2007

Reviewed by: Dan Green

Hedi Slimane is a different creature to most artists. He is one with a past we are already aware of, who has already lived a life as a well-known name. Slimane was head menswear designer at Dior, it is he we have to thank for skinny men in skinny suits and ties, his clothes finding their way onto the backs of musicians the world over, and even Karl Lagerfeld, who reportedly shed weight simply to wear Slimane.

Slimane comes from a background of glamour and privilege, of parties and posing where whose clothes you wear is as, if not more important as who you are. By contrast, he has found his way into the perceived darker world of rock and roll, befriending luminaries such as Pete Doherty and The Horrors, and photographing many others. Much of his work now is rooted in these cultures, clean lines, mirror finishes and sparkle. He uses the faces of young people immersed in music culture, black and white photographs with high contrast tones, printed onto metal and covered in Perspex.

I am constantly aware of my own reflection and the impact of my presence in the room. It is bright, and laid out on the floor is a long pathway of glitter, much like a glamorous Carl Andre, except this is not for walking on. I wish I had the guts to do so, to disrupt the perfect gallery environment. This is a glamorisation of culture. It’s all very impressive, but what lies behind the mask of music culture? Slimane makes no reference to life behind the scenes; to the hard work or to the pitfalls the media so readily remind us of these days, of the sex and the drugs. He removes himself (and us) from these realities and instead gives of the opinion that one could deeply involve oneself for a moment, before retreating and escaping the consequences. It is almost fitting that the exhibition falls at the same time as Berlin Fashion week. I wonder how many fashionistas will travel across the city to pay homage to Slimane and to be seen doing so.

The show is actually described as a group show, with Slimane as the curator. And whilst he set the theme, from a Tennesee Williams quotation, it appears that the other artists have one piece each displayed. Slimane has curated himself, with a few others thrown in. I’m not sure how to react to this – I like Slimane and his wallowing in glamour – but I fear the whole show misses something. It’s too clean cut, too shiny, too deliberate, and too precise. That’s not rock and roll. The whole show stands back and watches the culture it portrays. What does lie behind the mask? If we take away the posturing, what substance is left? Slimane is either very clever in leaving the question, or he’s missed his own point. I hope it’s the former.

Writer detail:
is a Fine Art student at Nottingham Trent University.

thefryingpanman@hotmail.com |

Venue detail:
Arndt & Partner
Zimmerstrasse 90-91, D-10117 Berlin

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