(selected by Chris Evans)
Think Thingamajig (floor sculpture 2), 2005
'We consider our work as being in a tradition of conceptual art; its about questioning the parameters of art, what contemporary art is, whats allowed and whats not allowed. We're interested in making art that is very public; art that has a physical and intellectual effect on the viewer - whether you like it or not, you have to engage with it.'
(Tatham & O'Sullivan interviewed by Will Bradley, Berlin 2001).
Joanne Tatham and Tom O'Sullivan have worked collaboratively since 1995 creating work that is concerned with the mythic potential of art, and how art can exist as an event in a particular space and time. Their installations are often a re-staging of a vocabulary of images, phrases and forms which are part of a common history, though these reference rather than directly quote specific artists and artworks or reveal the origin of a motif: 'There's always more than one meaning. The pink lights in 'The Glamour' are Dan Flavin, but then theyre too camp, a backdrop for a seedy strip club, and in a way they refer to a whole genre of bad art.' (1)
Employing theatricality, Brechtian absurdity and Wittgensteinian word-play, the viewer is playfully complicit in the construction of meaning. Both 'HK' (2001) and 'The Slapstick Mysticks' (2002) use words as found things that can misdirect or mislead a viewer; 'The Blacks' (2002), a sculptural work commissioned by Cubitt, London, is both the title of the work and the work itself: 'a title, a label, a reading, a social indicator, a presentation, a construction a description of the letters themselves and a theatrical design: an absurdly flamboyant non-sculpture sculpture'. (Cubitt, London, 2002)
Helen Hirsch writes, 'Tatham & O'Sullivan proceed to the brink of intelligibility with their work, in as much as they play with the viewer's expectations and irritate them by means of technically diversionary manoeuvres. The title 'Think Thingamajig and Other Things' is symptomatic of the artists' complex rapport with form and speech. This installation begins with a tiny, enigmatic sculpture placed under glass on a made-to-measure wooden pedestal, standing almost unnoticed in the entrance corridor of the Glarus Kunsthaus. Whoever engages with it will irritably have to search for clues, since coded messages belong programmatically to Tatham and O'Sullivan's strategical thinking.' (2)
''Think Thingamajig' [is] a ceramic cube decorated with pink diamonds on a black background that the artists have described as an esoteric object, a thing for thinking. Thinking about what, though? About the artists straw-and black paint-plastered monolith 'This Has Reached the Limit Conditions of Its Own Rhetoric?' About their drawing 'This Is the Thing That Has Reached the Limit Conditions of Its Own Rhetoric', in which the monolith reappears, this time as a chess piece manoeuvred by a suave, top-hatted gentleman? About their recent sculptural work 'That is the Way, it is, it is, that is', in which the 'The Glamour', 'HK' and 'This Has Reached...' projects are smooshed together in what is at once a caricature of the artists oeuvre, a mini-retrospective and, quite possibly, an endgame in which each element cancels the other elements out?
In fact, it does not help us to think about these objects at all. It, like them, is a prop, a decoy. Its only purpose is to get us to think about thinking, and who might want us to do that thinking, and why. This may seem meagre, but it has its consolations. Thinking doesn't disappoint us or compromise us. Thinking guides us through glamour. Thinking is where compassion lives. (Tom Morton, 'Mirror, Mirror', Frieze, issue 87, November-December 2004, pp. 90-93).
Tatham & OSullivan (b. 1971 & 1967) are based in Glasgow. Recent solo exhibitions include Art Basel Statements, 2005, Oh We Will, We Will, Will We, Studio Voltaire, London 2005, That is the Way, it is, that is, Sutton Lane, London, 2004, and Think Thingamajig and Other Things, Kunsthaus Glasus, Switzerland, 2003.
Recent group exhibitions include Sutton Lane in Paris, Galerie Ghislaine Hussenot, Paris, (My private) Heroes, MARTA Museum of Art & Design, Herford, Germany, Reflection part II, Sutton Lane, London, 2005, Aint no love in the heart of the city, Cardiff, 2004, and Zenomap, Venice Biennale, 2003.
Tatham & O'Sullivan are represented by The Modern Institute, Glasgow and Sutton Lane, London.
Both artists are Research Fellows at Grays School of Art, Aberdeen.
References
1. Interview with Will Bradley, Berlin Biennale 2, Kunstwerke, Berlin, 2001
2. Helen Hirsch, Kunstbulletin 6, 2003, pp. 36-37
www.suttonlane.com
www.themoderninstitute.com
www.scotlandandvenicebiennale.com
Further information
New work for VeniceTatham & Sullivan's work for the Scottish Pavilion at the 51st Venice Biennale, entitled 'A routine sequence of external actions', is a choreography of sculptures and motifs that... read on
Oh we will, we will, will weStudio Voltaire, London, commissioned 'Oh we will, we will, will we', a two-part project comprised of a large-scale sculptural installation and a body of associated research activity. This piece... read on
Thou Art That! At the 2004 Frieze Art Fair, Tatham and O'Sullivan's play 'Though Art That!' was presented by the performance troupe The Slapstick Mysticks with Sticks in the style of a medieval mumming... read on
Aint no Love in the Heart of the City'Aint no Love in the Heart of the City', curated by Gordon Dalton, utilised many of Cardiff's scraps of urban space that were otherwise unused. These plots of land revealed thirteen temporary... read on
The BlacksChin-high, free-standing letters spell out the words 'the blacks' in what could be read as a bare-faced provocation of the fierce defenders of correctness. And yet we know that the term is to be... read on
The Glamour'The Glamour', 2000, comprised three monolithic, rectangular constructions lying in an irregular line which bisected the gallery. One side of the structures was covered by mirrored panels, the... read on
