The Baltic Mill, Gateshead

Robert Breer  

   Float, 1972, resin, paint, wood, motor                                   

    

                                  

Rug,1968, two motors, golden sheet   Tableau, 1965, canvason structure, motor

 

                             Panorama 1, 2005                             Variations, 1970

                      Fuji, 1974, drawings from the film Fuji

If I am honest, I did not 'get' any of Robert Breer's work.  I often find it hard to appreciate contemporary art if I cannot identify with the making process, or see clearly the time put into a piece.  For example, 'Rug' instantly lost my attention for obvious reasons.  However, I did find his films a little more interesting.  The soothing French speaker on top of an array of Kandinsky style drawings was quite therapeutic and seeing the film frames helped me recognise the amount of work put into one film.

 Maurizio Anzeri

I am Red, 2010, synthetic hair, sewn threads    Twins, 2010, synthetic hair, sewn threads

Maurizio Anzeri was definitely my favourite installation. The small room featured 2 large sculptures, made of synthetic hair and stitch.  If anything, the scale of these pieces was impressive, each standing about 7ft tall with layers and layers of hair.  The braidings and weaving of the hair created appealing textures and allowed the hair to take sturdier form.  I think 'Twins' was especially enthralling, due to the nature of my own theme.

 

  Family, 2011, embroidery on print

                      Giorgio, 2010, Embroidery on print       2010, Embroidery on print  

The extensive amount of framed embroidered photographs was very exciting to me.  His geometric line work, with their precise stitch patterns and colour choices instantly grabbed my attention.  I was in awe of the way the stitched were taught, but did not interfere with the quality of the photographic print.

Mariah Robertson

     44, 2011, C-print on metallic paper

Again, scale played a large part in making this work successful.  The large reels of metallic paper printed with bold colours and forms made the work eye-catching, drawing the audience closer.  Up close, the smaller details were the more intriguing parts of the work. However, I must admit, this part of the exhibition did not get my juices flowing.

 

                             8, 2011, C-print on metallic paper    9, 2011, C-print on metallic paper


Overall, I felt indifferent to most of the work featured at The Baltic.  This is probably considered one of the most offending emotions when it comes to someone’s art, but I cannot help but feel like the work, with the exception of Maurizio Anzeri, was neither offending nor exciting to me.