John Latham, Belief System 1959. Tate. © John Latham Estate, courtesy Lisson Gallery, London.
14 rooms in Modern and Contemporary British Art
In the 1960s artists in Britain adopt a radical approach to question society’s values, merging art with life
At this time, a growing activist counterculture is concerned about civil rights, the threat of nuclear war and interventions by the United States in Asia, Africa and South America. These calls for freedom and resistance anticipate shifts in art and youth culture. Some British artists become part of international experimental art movements such as Fluxus, which makes art out of actions. They use performance, poetry and any materials available to allow chance to shape the outcome of their work.
A pivotal moment is the 1966 Destruction in Art Symposium in London, co-organised by the German artist and activist Gustav Metzger. Over 50 artists, scientists, poets and thinkers from Europe and the United States come to London for a series of performances and discussions. They explore the role of destruction in art and how it relates to this new social and cultural era. Several of the works in this room reflect events and happenings that take place during the symposium.
Some artists engage with scientific and technological developments. They experiment with kinetic sculpture: sculpture that moves. At times, these works aim to express fear of the way machines are used throughout society. Other works explore the vitality of life. The gallery Signals London is an important meeting place for South American and European kinetic sculpture artists in the mid 1960s. It provides a forum for artists who believe in ‘Art’s imaginative integration with technology, science, architecture and our entire environment'.
Bruce Lacey, Boy, Oh Boy, am I Living! 1964
Bruce Lacey’s sculpture responds to scientific developments at the time. In 1964 it seemed possible that almost every part of the human body might soon be replaceable with artificial substitutes. Experiments with electrode implants into the brain implied that our actions and thoughts could be remote-controlled. Lacey’s sculpture expresses his misgivings. The irony of the title Boy, Oh Boy, am I Living! is underscored by the fact that the moving figure is completely caged in.
Gallery label, May 2023
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artworks in Creation and Destruction
John Latham, Belief System 1959
Here, books represent systems of knowledge that John Latham wanted to undermine. He referred to his body of work made using books as ‘Skoob’. Turning ‘books’ backwards represented his aim of overturning their authority. Latham staged ‘Skoob Tower Ceremonies’ as part of the Destruction in Art Symposium. These controversial performances involved setting light to columns of books in front of places with institutional power and knowledge, such as the British Museum.
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artworks in Creation and Destruction
Raphael Montañez Ortiz, Duncan Terrace Piano Destruction Concert: The Landesmans’ Homage to “Spring can really hang you up the most” 1966
Raphael Montañez Ortiz hit a piano with an axe for his Piano Destruction Concerts. Eurocentric oppression’ and the performance was a ‘ritual of release’. Ortiz linked his work to Indigenous North American Kwakiutl potlatch ceremonies, where property is destroyed by its owner. Composer Fran Landesman invited Ortiz to perform his Destruction Concert on her own piano at her home.
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artworks in Creation and Destruction
Gustav Metzger, Painting on Cardboard c.1961–2
For Gustav Metzger, painting could embody feeling, movement, violence and vulnerability. He used a palette knife instead of a brush to create this dynamic composition. First, he applied the paint. He then attacked the surface with the knife, cutting into the board and scraping the top layers away. From the late 1950s, Metzger experimented with non-traditional art materials, such as the packaging and household paint in this work. Through his process and materials, he explored both construction and destruction
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artworks in Creation and Destruction
Liliane Lijn, Time is Change 1964–5
Liliane Lijn wrote the text inscribed on this ‘poem machine’. When it rotates, the central band of repeated words appears to mutate. New words seem to appear. ‘Whenever’ reads as ‘never’ and ‘wherever’ as ‘here’. Activated by movement, language is no longer linear. Lijn said: ‘When I made the Poem Machines, I wanted to renew the power of the word. I believed that words had been emptied of their meaning and only by dissolving them back into their primal vibration could they renew themselves.’
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artworks in Creation and Destruction
Takis, Télélumière Relief No. 5 1963–5
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artworks in Creation and Destruction
Takis, Yellow Electron 1966
Takis made this work from salvaged aeroplane control panels, which he rewired to make them pulse and flash. His art was based on the manifestation of energy, and often involved light, magnetism, electricity and sound. He aimed to break down boundaries between art and science. His thinking inspired David Medalla, Guy Brett and Patrick Keeler to name their gallery Signals London, in tribute to his vision of the transmission of ideas
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artworks in Creation and Destruction
David Medalla, Sand Machine Bahag - Hari Trance #1 1963–2015
David Medalla challenged the idea that sculpture should be monumental and timeless. Environments that inspired his delicate moving ‘sand machines’ included mountain rice terraces in the Philippines and the Sahara. He described this work as ‘a metaphor for the future, when technology will be able to use solar power to help irrigate the world’s deserts.’ The word bahaghari in the title translates as ‘rainbow’.
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artworks in Creation and Destruction
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