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Is there no end to the rehabilitation of Chalk Farm? First there was The Roundhouse, and a shot in Docherty's arm later, At Proud was flicking its indie fringe our way. Now there's 176, a new gallery on Prince Of Wales Road (and stones' throw from ace boozer Monkey Chews), that we think is the most exciting artistic opening since Tate Modern. |
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Housed in an atmospheric Victorian Methodist Chapel lightly renovated by the team behind The Tea Building in Shoreditch, 176 promises some of the most innovative art around. And, after a sneak preview yesterday, we officially agree. For a start, there are absolutely no white cubes - and, in fact, there's nothing clinical about either the exterior or interior, which both exude a careful sense of history and place. Within three main and eight smaller rooms, the opening exhibition,
'An Archaeology', (running till Dec 16) includes such gems as Mathilde
Ter Heijne's Women To Go, in which 15 racks of postcards - all up for
grabs - each depict a notable (rather than famous) female life from
the past. Meanwhile, in the upstairs gallery, Liz Neal's commanding
The Matriach, a headless relic made out of Guinness cans, Becks bottle
caps and embroidery, is an anti-monarchist comment on consumer culture. |
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Most disorientating of all, however, is Candice Breitz's DVD installation Diorama, in which cliffhanger episodes of Dallas, edited down to repetitive sound bites, are shown on TV's strewn round a depressing suburban room. Their nagging refrains, audible throughout the venue, are enough to make you run for comfort - which happily is on hand courtesy of a stylish café in the foyer. Or, if it all really is too much, there's always Monkey Chews down the road for something stronger. 176
opens today |
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