(2 stars)

CCA, Glasgow, until Sat 21 Jul


‘Project art’ and ‘web-based art’ sound like something hippies with palm-pads get up to of an evening after a shisha pipe and a banana beer. This anti-aesthetic guerrilla-esque expression appeals to computer geeks, the eternally young (thirtysomethings) and hippies. But the exhibition by the collective at the CCA seeks to challenge our preconceptions. Does it succeed? No. Logo art has its place in late 20th century art, of course, but the urge to turn a recogniseable trademarked catchphrase or icon into a big joke isn’t that funny anymore, or interesting. The gallery foyer is filled with mugs, T-shirts and assorted accessories that would not look out of place in a student tat shop. If this is an attack on what is thought of as art it is successful. As an intelligent intervention it fails.

The work in the main gallery space is slightly more appealing, with large projections filling up most of the wall space, work that deals in wit rather than tacky didacticism. Heath Bunting’s ‘Public Sculpture Climbing’ is a successful slideshow where images of enormous, brooding sculptures are re-claimed by the people they were made for, who now scramble all over their ugly bodies. Kayle Brandon and Bunting’s ‘D’fence Cuts’ (photographs and wire cutters) also present a naughty, anti-Big Brother urge, to skilfully remove the barriers that run physically and symbolically through our society.

(Alexander Kennedy)

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