The Whitechapel Gallery in London, under the new directorship of Gilane Tawadros, presents its first exhibition that challenges the boundaries between art and life. One of the featured artists is John Smith, whose 1976 conceptual art piece, The Girl Chewing Gum, blurs the line between reality and fiction. Smith’s film captures everyday scenes on a street in Dalston, London, while he poses as a director, instructing the people in the frame. The juxtaposition of Smith’s commands and the spontaneous reactions of the passersby raises questions about the nature of art and how it frames our perception of the world.
The exhibition delves into the heart of British urban life, offering unmediated images that reflect the streets outside the gallery. Mitra Tabrizian’s Film Stills presents seemingly chaotic and random photos of lockups and parked cars, inviting viewers to uncover narratives within these mundane scenes. The show’s depth lies in its exploration of inner consciousness and the intersection of memories and desires. Alia Syed’s film, Fatima’s Letter, combines fleeting monochrome images of platforms and trains with fragmented memories of migration and lost connections, blurring the boundaries between outer existence and inner reflection.
The exhibition culminates in Mark Wallinger’s Threshold to the Kingdom, a classic contemporary artwork that captures profound moments from ordinary lives. Filmed in slow motion and shown life-sized, Wallinger records people emerging from an airport’s arrivals gate, depicting their expressions of joy, anxiety, or isolation. Set against the majestic sound of Allegri’s Miserere, the piece evokes scenes reminiscent of Last Judgment altarpieces or verses from Dante’s Inferno, revealing poetry in the everyday. This artwork encapsulates the exhibition’s core message: that art is a particular way of looking at life.
While the exhibition features many impressive works, the true revelation is the radical veteran artist, John Smith. In 2020, Smith turned his camera towards the rooftops from his Hackney window. The opening shot captures a hazy, snowy landscape, gradually revealing the towering glass buildings of the City of London. Over this imagery, Boris Johnson’s dismissive remarks about the coronavirus pandemic play in the background. As the days pass, Johnson’s tone becomes increasingly alarmed, contrasting with Smith’s observations of his locked-down neighbors going about their lives. The stark contrast between the realities of life during the pandemic and the behavior of those in power is both disconcerting and profoundly real.
In a world where art often serves as an escape or a means of sublimation, this exhibition challenges the notion of unvarnished truth and invites viewers to consider the rawness of life itself. It poses the question of what art would be like if it were as unfiltered as a piece of chewing gum on asphalt. Ultimately, the exhibition offers a refreshing perspective on the intersection of art and reality.
