Culture Clash! Tatton Park Art Biennial 2010, Cheshire

Running ‘til the end of September, Tatton Park Biennial sticks contemporary art into one of North West England’s most beautiful, late-Georgian country estates. From mansion to maze, Matthew Miles discovered a combination of cheeky creativity and rarefied living that’ll put a kick in your hazy summer day.

With this Biennial’s theme being ‘Framing Identity’, Tatton Park estate, near Chester, has become the stage for the imaginations of over 20 artists, all creating 3D or installation pieces that reference the location and its history – and sometimes rub it up the wrong way. Deliberately creating a blot on Tatton’s romantically picturesque landscape, Jimmie Durham’s assemblage of bright-painted ‘leaking’ oil drums on a finely clipped lawn has outraged some members of the Tatton Trust. Referencing the artist’s history as a native American Cherokee, and his community’s land claims amidst the drive for oil, the piece has proved timely as the United States’ deregulated lust for petroleum results in its worst ever man-made disaster.

But there’s a lot more to the Biennial than shock factor and, in fact, some of the most successful pieces are those that tap into the location in more subtle ways. Jem Finer Spiegelei’s installation at the edge of the Japanese Garden pond has something of the Victorian folly about it, though it goes on to dreamily alter your perspective of the surrounding water, trees and sky in a manner that your average faux-castle struggles to deliver.

A mirrored sphere ‘sits’ atop a basic wooden shed and internally displays a three-way camera obscura image of the Japanese Garden. There’s room for one person at a time to enter the shed and stand with their head in the sphere, becoming immersed in a magically dappled 360-degree mirror image of the landscape – complete with silvery water and, if you’re lucky, the sudden flight of birds. It’s an unforgettable introduction to the science-bending practice of an artist, musician and composer who has worked in residence at Oxford Department of Astrophysics.

If there’s a fair bit of science involved in Spiegelei’s piece then Kate MccGwire’s work, sited in the kitchens of the mansion, is perhaps the most fantastical furthering of Tatton’s history. Game shooting and the preparation of the birds for eating was a major part of the estate’s culture and MccGwire’s installation combines thousands of locally sourced feathers, each coming from a bird that would have been cooked in the house. The end result is a freakishly silky ‘organic’ form – resembling a boa constrictor-size bird’s neck without a head – that ‘emanates’ from the oven and takes over the space.

Further inside the stately pile, where servants might have feared to tread, Helen Maurer’s delicate and enchanting kinetic offering drops from ceiling to floor in the Cupola Room, employing glass once used in chandeliers at Manchester Airport to recall the WWII parachute descents at Tatton. Back in the gardens, Neville Gabie’s piece - centering on a block of ice brought to Tatton from the Arctic and kept cool by solar-powered air-con units - chimes with the explorations of one of the more daring members of the Egerton family (who owned Tatton from 1598-1958). Meanwhile the class divide at the estate is explored in Annika Eriksson’s films, shot at Tatton and screened in her portable six-seat cinema.

The Biennial is curated by Danielle Arnaud and Jordan Kaplan. For Arnaud, “it’s an opportunity for artists and writers to immerse themselves in the histories of Tatton Park and question identity and place within the context of the area. Throughout the summer Tatton becomes a creative laboratory, where artists’ experiments can bemuse, confuse and provoke visitors.”

From a giant rocking horse to a ‘Blair Witch’ style horror in the bushes featuring an ominous, um, shed and a lot of dry ice, The Tatton Park Biennial is sometimes eccentric and others esoteric – but the combined whole should ensure an absorbing day in a stunning corner of the country. And if it all gets a bit modern art on your ass then there’s always 1,000 acres of topiary, moor-land and landscaped lawnage to get lost in instead.

Tatton Park Biennial 2010: Framing Identity. 8 May–26 September.
For opening times and travel information:

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