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Nathaniel Mellors: Bad Mantra (with Erkka Nissinen) 2–24 February 2019 | Ourhouse E3 feat. BAD COPY 18 April–27 May 2012 | Profondo Viola 8 September–31 October 2004 | Black Gold 7 February–1 April 2001 | Editions | Publications | Artist’s Website
|Nathaniel Mellors & Erkka Nissinen| Bad Mantra | 2–24 February 2019, Weds–Sun 12–6pm | Preview: Friday 1 February 2019, 6–9pm | 92 Webster Road, London, SE16 4DF|
Extract from Nathaniel Mellors & Erkka Nissinen’s The Aalto Natives, 2017.
Matt’s Gallery presents Nathaniel Mellors & Erkka Nissinen’s Bad Mantra,the first in 2019’s series of longer form exhibitions in the 3x3x3 cubic gallery space at 92 Webster Road.
This is Nathaniel Mellors’ fourth exhibition at Matt’s Gallery and the first solo presentation of his collaborative practice with Erkka Nissinen. The pair established their collaborative practice when they developed The Aalto Natives for the Finnish Pavilion at the 2017 Venice Biennale. It will continue alongside the artists' solo practices.
Bad Mantra draws its title from an episode in The Aalto Natives, a darkly humorous take on Finnish identity, creation myths and nationalism. From that installation has grown a body of work that extends and develops its narratives. Within the broader context of the work, 'Transcendental Accidents' parody avant-garde performance and liberal cultural entitlement - as one experimental dancer pleads to the lead character, Atum: "I should be at a university, instead I'm forced to wander the countryside performing modern dance to ease my pain..."
At the centre of the installation is a one-puppet band, jamming a programmed improvisation created by the artists for the space. The installation develops Mellors' long-standing interest in animatronics, combining kinetic sculpture with music and sound.
The work, shown at Kiasma as part of the pair’s exhibition The Aalto Natives in 2018, will be reconfigured in response to Matt’s Gallery’s 3x3x3 metre cubic space.
In 2020 Matt's Gallery will open its new space in Nine Elms with an exhibition by Nathaniel Mellors.
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