Stuart Morgan

  • Scars

    Perhaps it was inevitable that a major British performance group should eventually decide to reenact the lives of the Brontë sisters. Featuring only four performers, as Charlotte, Emily, Ann and Branwell, Scars by Hesitate and Demonstrate was staged at the I.C.A. in a crammed portmanteau area which, by dint of clever lighting, became by turns a railway waiting room, a dining room, a bedroom, a seaside restaurant, a church, a box at the theatre, a tropical hut, a graveyard and a railway line. Cluttered, ludicrous, fascinating, the entire design resembled a Victorian interior. Like the soundtrack,

  • Paul Neagu

    Paul Neagu’s recent exhibition at the I.C.A. marked ten years of living in Britain in self-imposed exile from his native Rumania. In a decade he has developed into a didactic sculptor employing geometric signs as devices in an emerging philosophic system. Here problems bristle. How visual can such “philosophy” be? How personal can it become? Most of the pieces on show were “hyphens,” large wooden cradles with pointed legs, roughly made with old wood and metal tips, and “fusions,” edgy semicircles like curved thunderbolts. In his personal vocabulary the hyphens act as bridges between stages of

  • Ancillary Section, Hayward Annual

    Half in and half out of the Hayward Annual was a section with the noncommittal title “Ancillary,” masterminded, like the Performance section, by the indefatigable Helen Chadwick. “Ancillary” was Edge City, with people marching in patterns (Charlie Hooker), a couple in kitsch costumes reciting elliptical texts (Sylvia Ziranek) and women icing themselves like cakes (Bobby Baker). Reviewers intent on sculpture and painting ignored this opportunity to see the work of young artists—often under 25—working outside traditional media. Two I found particularly impressive.

    Roberta Graham’s tape/slide