Among The Trees, Hayward Gallery

The Hayward Gallery’s “Among The Trees” exhibition, reopened after COVID closures, explores our relationship with trees and forests.

The brutalist concrete of London’s Southbank Centre, some of it originally set for the Festival of Britain in 1951, seems a place at odds – if not an odd place – to hold an exhibition that asks us to think about our relationship with trees and forests. But, that’s what the Hayward Gallery’s ‘Among The Trees’ is asking us to do.  It reopened yesterday after being closed at the start of the COVID crisis and is now extended until October, so ignore the out-of-date dates on promotional banners.  Visitor numbers are limited, and there’s a one-way system introduced so that social distancing norms can be observed. 

I’m no art critic, but I think I am with the ES Magazine’s “there’s much here to absorb, unsettle and even, occasionally, provoke wonder” over Time Out’s “the rest just sort of blurs into one, and by the end, you can’t see the art for the trees”.  Most reviewers seem to agree that Eija-Liisa Ahtila’s six-screen, horizontal video of a giant Finnish spruce is the most powerful piece, and it is visually very impressive.   Eva Jospin’s forest from cardboard, which is one of the first exhibits you come to, reminds us of both the beauty of the forest and the damage caused by humans.  Later, Steve McQueen’s Lynching Tree, depicting a tree that once served as a gallows for slaves, provides another reminder of our cruel and destructive nature.

In many ways, that grey concrete architecture – a material which itself replaced the need for wood in some construction projects and is the core of the Hayward Gallery – is the perfect backdrop to the trees that form the exhibition. Perhaps my only criticism is that there’s not enough of the contrast, the hard and the soft, exploited within.

The restrictions caused by timed entry and fewer people in the gallery space may not be great for the gallery’s finances, but they make the experience itself very nice indeed.  No real queues, except to get into the shop afterwards,  and no crowds around the big art pieces. And, given how much of the world is closed off to us right now, the reopening is a real treat. Although perhaps we should be spending these beautiful summer days in nature for real.

The Point Of Art?

Paintings and installations don’t come high up on my list of things to do.

Can it really be a whole year– yesterday – since I lay on the floor at The Tate Modern on the South Bank and looked up at that bizarre, yet compelling, installation that was Olafur Eliasson’s Weather Project? The very fact that I loved it, and wrote about it, made me realise that, generally, art doesn’t feature a great deal in my life. I mean paintings and installations don’t come high up on my list of things to do. I have spent time in most of the major London galleries since I have been here, but nothing ever ‘clicks’ with me and, to be honest, apart from an Annie Leibovitz exhibition a few years ago, I can’t recall much that I have seen. I wonder why paintings, sculpture, etc. don’t resonate with me? I went to the Dali museum/gallery on the South Bank months ago because I thought surrealism might be more appealing, but it was only marginally more so. In 2001 I went to see Martin Creed’s Turner Prize-winning lights(going on and off in a room) and just didn’t get it (at all). It’s very strange, really, as I would like to appreciate art more, and I would love to be able to take good photographs. It’s not that I don’t see that it’s good (or bad) art but more that most of the art I have seen simply washes over me. It doesn’t grab me. Maybe I should just keep looking! As for other things that I did last year, I really won’t mind being on a plane back to Helsinki, but my boss went instead.