Martin Boyce: No Reflections (4 stars)

Martin Boyce: No Reflections

As with most aspects of Martin Boyce’s reimagining of his 2009 contribution to the Venice Biennale, the autumn leaves that dust about the floor’s edges in the DCA aren’t quite what they seem. Made of paraffin-coated crepe paper and nestling alongside a discreet floor-level network of brass ventilation grills, they provide some kind of framing to what resembles a showroom of customised home and garden apparel. Steel bins – one silver, one red – are angled so everything looks top-heavy. A wooden birdhouse is carved similarly lob-sided. Two upturned park benches become an Oriental screen. An industrial-looking workbench is dotted with holes and looks like a rusted mortuary slab. A bed-frame with a rolled-up wire-mesh mattress offers little comfort.

In the next room, a series of stepping stones lead nowhere, while the lettering on the wall that spells out ‘Petrified Songs’ is hung at half-mast. Overhead hangs a sleekly flamboyant array of lamps. Together these objects recall 1970s retro (sub)urban chic and crazy paving patios, like some interior approximation of Eden once the decorators have moved in. This is Boyce getting back to the garden and back to nature by way of a manufactured appropriation that can never fully live up the running-wild, running-free years of climbing frames and after-dark experience, and so produces the most melancholy form of nostalgia. There’s an essence here that relates to the sense-memory ennui of Bill Nelson’s brooding 1980 instrumental paean to a Wakefield park, ‘The Shadow Garden’, only recast with more classical splendour.

As adventure playgrounds go, the DCA’s clinically lab-like interior will never match the crumbling 15th century Venetian Palazzo that first housed the show. But then, by rubbing Boyce’s manufactured relics up against an equally constructed container of the modern world, the juxtaposition lends an even more solitary poignancy to proceedings. It’s as if the gardens where we once felt secure, full of menace as they were, had been left out in the European rain too long after everyone had gone back indoors, playtime over, the party moved on elsewhere. All there is to do now is preserve what’s left behind.

Dundee Contemporary Arts, until Sun 14 Feb

Martin Boyce: No Reflections

  • 4 stars

Boyce's re-imagining of his 2009 contribution to the Venice Biennale sees the artist getting back to the garden and back to nature by way of a manufactured appropriation.

Gallery Tour

  • 4 stars

Join one of the DCA Gallery Assistants for an insightful tour of the Alex Frost exhibition.

What You See is Where You're At

  • 4 stars

The second phase of the Scottish National Gallery of Modern Art's 50th Anniversary celebrations sees new displays of Scottish Colourist and German and Austrian Expressionist work, the first Scottish showing of key Ian Hamilton Finlay work from the ARTIST ROOMS collection, new and recent work by Scottish artist Callum…

Martin Boyce: Scotland and Venice Lecture

  • 4 stars

The artist talks about his experience of undertaking a solo exhibition for the Venice Biennale and the challenges of re-presenting this work for the different architecture and context of Dundee Contemporary Arts.

No Reflections: Gallery Tours

  • 4 stars

Join an information assistant and a member of the Scotland + Venice invigilation team for n tour of Martin Boyce's exhibition and learn more about how the works were presented at the Venice Biennale.

Martin Boyce and Philip Long in Conversation

  • 4 stars

Artist Martin Boyce discusses the experience of representing Scotland at the 2009 Venice Bienniale, his current exhibition at DCA in Dundee and his installation at the National Galleries with Senior Curator Philip Long.


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