Ryan Trecartin, ‘Center Jenny’ 2013 stills. Courtesy Regen Projects, Los Angeles and Andrea Rosen Gallery, New York © Ryan Trecartin.


Ryan Trecartin, Photo by Fulvio Orsenigo

This year the Zabludowicz collection in London has bookended its exhibitions programme with two artists of a similar age but who are at very different stages of their career. So, in the glare of a thought grenade thrown carelessly into the public sphere by Peter Schejdhal (“Ryan Trecartin is the most significant artist to have merged since the 1980s”) and Massiniliano Gioni’s interpretation of Trecartin’s work as exemplary of an emerging “hysterical realism”, it seems appropriate to expose the young Scottish Artist Rachel Maclean’s work to the revelatory light of these bold claims. Just what is hysteric about Trecartin’s work to begin with? What relationship does it bare to any sort of “realism” – and by extension reality? And how might it be considered as exemplary of a generational symptom which is locatable in an increasingly wide number of works by those like Maclean, to borrow a marketing meme, younger than Jesus?

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Kristina Cranfeld talks to Line about her recent film ‘Manufactured Britishness’


Manufactured Britishness is a project derived from the compulsory and very real Life in the UK test, which examines skills for integrating into British society. The project critically explores the assessment program contrived by Britain in testing for citizenship by proposing a future manifestation of the Life in the UK test. In this future, we see immigrants as an exploitable material, a living currency, compelled to sustain national identity in order to maximise capitalistic agendas.

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Still from ‘Manufactured Britishness’ by Kristina Cranfeld.
What is the future of citizenship in Britain and what new rules will be proposed for immigrants to become citizens? Manufactured Britishness depicts a fictional system in the future where immigrants must undergo physical assessments to demonstrate their worth as prospective British citizens.
The film will be screened today at The Roundhouse at 13:30. 
Length: 14 min approx Year: 2013
David Batchelor Blob (Small Turquoise) (2012) Photograph by Stuart Whipps

David Batchelor Blob (Small Turquoise) (2012) Photograph by Stuart Whipps

David Batchelor Blob Paintings (2011-2012).  Installation view at Spike Island. Photograph by Stuart Whipps

‘Flatlands’ by David Batchelor at Spike Island

David Batchelor’s ‘Flatlands’ Curated by Andrea Schlieker will be showing at Spike Island until 26th January 2014.


David Batchelor Disco Mécanique (2008) Installation view. Photograph by Stuart Whipps

The use of synthetic colour may be David Batchelor’s striking leitmotif, but in Flatlands questions of dimension usurp even the lurid neons of Batchelor’s famous colour palette. Referenced somewhat misleadingly as the first in-depth showing of David Batchelor’s supposed ‘two-dimensional’ drawings and paintings, this show is arguably far from flat – both in volume and expectation.

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