Political Primitivism: The Hecklers

I think Hecklers is a great term for artists. Artists challenge, interrupt and make objections upon world views in their own creative and individual ways. The term, Heckler, is most known in relation to an audience calling jibes and making comments at a performer out of turn, sometimes aggressive, sometimes comedic.
Within a new exhibition at The New Art Gallery Walsall artists/performers become The Hecklers, teasing out ideas of a political and economic nature and revealing thoughts that draw upon a primitive state of mind. Living within an advanced hierarchical and technological society has driven a wedge between humans and the natural world that is almost isolating. But the way we think and feel still links us to past civilizations.

Joel Gray, Stones, Bones and Mobile Phones (2013)

Stone carving is an ancient craft that Joel Gray manipulates within Stones, Bones and Mobile Phones (2013) forming a domestic arrangement that hovers between cave man and modern man. Present day objects grow from mounds of alabaster, such as bombs, a laptop, mobile phone and sunglasses. Rendered function-less and without detail the items are still distinguishable amongst the rubble of rocks and bones. Gray takes us back to primal methods of art making, rejecting digital technology. Between smooth and rocky surfaces the resistant quality of alabaster reflects the consumerist culture of today.

The large gallery space is used to full advantage, there is a lot of art to be seen and each piece demands its own attention. Curator Cedar Lewisohn is bold in his decisions, allowing the work to interrupt and overlap each other in a way that seems very fitting for this exhibition.
Shaun Doyle and Mally Mallinson's immersive installation Wash your mouth out reflects these ideals through their use of language which manages to be jibing, menacing and humorous all at the same time. Statements such as 'Our shit smells better than your shit' aims to explore the impact of childish remarks on the viewer, questioning our reading of the insults. The cut and paste style posters are coupled with curious sculptures, which again involve the domestic object turned carnal. Stacked rawhide dog chews form the bases of lamps, topped off with frilly lampshades, this demonstrates how the transformation of objects take place, unlike Joel Grays function-less laptop or television, Doyle and Mallinson's rawhide bones take on a new purpose.

Shaun Doyle and Mally Mallinson, Wash Your Mouth Out (2013)

Shaun Doyle and Mally Mallinson, Our Skin is Better Than Yours

Artists Peter Kennard and Cat Phillipps form collaboration kennardphillipps. Their art is universal and accessible on all platforms, enabling them to reach out to the public and inviting people to air their views about society and politics. Their work within this exhibition, Bank of England (2011) is a large piece formed of the financial times with a UV print of a £50 note. The paper is torn and shredded, reflecting the tattered state of the economic climate.

kennardphillips, Bank of England, Note (2011) 

This exhibition is crowded and overpowering. Engulfing the viewer within a protest or riot of sorts. We are allowed to make our own judgments that draw upon our own experiences, we do have to accept what this work is telling us, but it stands in our way and makes us listen.

Alexis Milne, Your Eyes are Dead, (2013)

Ruth Ewan, The Cutting Wren (2011)

Francis Thorburn, Mobile Home (2013)