| Sarah Lucas | Charlie George | |
  Sarah Lucas @ Contemporary Fine Art, Berlin postmedia.net ... Thomas Ruff ... Gillian Wearing |
 Sarah Lucas is coming back to Contemporary Fine Arts after three years of absence from the gallery scene, but this time emphasizing rather than just pursuing the nineties discourse. She indicates the compatibility of art and gender critique: the twenty urinals 'signed' by the soccer-team arsenal in the gallery entrance draw the eye to Sherrie Levine's smoothe cosmetics more than to the guru MD; the cheap food cans as mobiles and the swaying concrete objects, as well as the "Led Zeppelin's for Poofs II" sculpture (3m in length) and the chair travesty - beyond the glam principle. Charlie George is the exhibition's main subject and as well as being the title of the exhibition Charlie George is legendary, having grown up in the same housing area as lucas before "making it big" thanks to his kicking abilities for Arsenal in the seventies. The title stories of old tabloids, reproduced and framed aphorise the chronicle of his ascent to fame as do the painted portraits and the familiar petit bourgeois reports of his accident, which are finally all cliches of his career advancement. Through amusing detournements and light paraphrases (concrete football) with unbalanced syntax, Lucas tackles Berlin's debate for the summer, opened - and monologued - by Isabelle Graw in "Texte sur Kunst" (her first 'Zerriss', as she said). Lucas nonchalantly moves around very remarkable guests wearing a glitzy T-shirt giving off a distinct "who cares?" attitude. Not Britpop, nor avant-garde. We see at last in Berlin, a glamour unto itself! Elena Zanichelli |