MARTIN CREED // Featured in C R A C K Magazine
“The worst scenario for a work is that it’s the equivalent of a child that you’ve kept in the cellar that grew up really f*cked up. Maybe that’s a helpful aspect of the exhibition; it gets stuff out of the house”. Martin Creed has opened his biggest exhibition to date, a definitive retrospective at the Hayward Gallery. Standing amidst the exhibition, we probed the Turner Prize-winning artist on how it feels to have your life’s work reassessed.
FAMOUS FOR HIS PARED-DOWN, MINIMALISM-INFLUENCED WORK, MARTIN CREED HAS JUST OPENED HIS BIGGEST EXHIBITION TO DATE, A DEFINITIVE RETROSPECTIVE AT THE HAYWARD. CRACK WENT TO SEE HOW HE FILLED THE SPACE
“I already thought things change depending on where you exhibit them, but the extent to which that takes place is, to me, almost laughable. The extent to which it doesn’t feel like the same … it is physically the same object, but it feels like one little thing in this bigger work, which is the show.”
The show is big. A serious retrospective, it spans the quarter century of Martin Creed’s career. Hayward Gallery has a rep for staging immersive, blockbuster – some might say crowd-pleasing – shows.
. . . . . . During our talk it becomes clear that he’s not unconditionally pleased with the Hayward exhibition, or rather, that it has affected him and his works differently than how he perhaps expected. . . . . .
You can read the rest of our feature in CRACK Magazine here.