"But it's not a picture of the outer person but an inner vision. As we stand in front of it I seem to fall into radiating pools of blackness to cross into darkness. Emin has curated an exhibition for the depths of winter. It's a generous, unexpected show with an eclectic yet profound openness to kinds of creativity many might think incompatible: paintings, installations, performance art all face the night here."
"It begins with a concrete waistcoat, like something that might be dredged up encasing a skeleton. The body has gone, leaving holes for arms, legs, neck. It's by Antony Gormley, cast from himself, and you wonder if he is a bit of a Houdini to have escaped it. Uneasy portraiture dominates this room. Munch gazes like a numbed, ragged pair of claws from his 1895 self-portrait, with a skeletal arm."
Tracey Emin has curated a winter-themed exhibition that places contemporary and historical artists in a dimly lit gallery to evoke nocturnal moods. The Carl Freedman Gallery is plunged into nocturnal shadow while still allowing artworks to be seen. Works range from Antony Gormley's concrete waistcoat cast to Edvard Munch's numbed 1895 self-portrait and Louise Bourgeois's agonised stuffed head. Resident artists from Emin's Margate studios show striking, bizarre paintings and gothic ceramic busts. The exhibition foregrounds uneasy portraiture, inner visions, and varied media including painting, installation and performance addressing darkness and psychological intensity.
Read at www.theguardian.com
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