With his mesmerising new survey show at the Hayward Gallery, a British artist confronts history: his own, and humanity’s
Last spring, the artist Mike Nelson went on holiday for a week to the southwest of France. The weather was awful and, on a particularly unforgiving day, when the rain was all but horizontal, he and his partner, the artist Rachel Lowe, and the friends they were staying with took shelter in a small, brutalist museum in the village of Tautavel.
An installation view of the Mike Nelson’s reimagined"Triple Bluff Canyon ", 2004, courtesy of the artist and the Hayward GalleryFor Nelson, dusting off existing pieces was not really an option. Because of the scale and ambition of his works, they can be difficult for institutions and collectors to house, plus storage costs can be exorbitant, so those that aren’t bought are often dismantled; sometimes, destroyed.
An interior from Nelson’s"The Deliverance and The Patience" 2001. Courtesy of the artist and the Hayward GalleryThis time though, he says, he hopes to rebuild “The Deliverance and the Patience”, as a “part-ruin”, familiar to those who’ve seen it before, but with some walls missing, and the outside now visible for the first time. Not only does making new work out of old work keep things interesting for Nelson, but it explores ideas of history and memory, the way they morph and change.
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