In 2021, six in ten Britons surveyed said they have ten or fewer friends, and 63% said they have a “best friend.” These numbers come from YouGov’s Friendship Study, which gathered the responses of over 2,000 Britons between 16-22 June 2021. In the context of the Covid-19 pandemic, it was a time where many reflected on their relationships. Now, Ikon Gallery, Birmingham, and macLyon have come together to explore the concept of friendship in a group exhibition titled Friends in Love and War – L’éloge des Meilleures Ennemies. Works from over 20 artists are on display, including Sonia Boyce, Pogus Caesar, Tracey Emin, Lubaina Himid, Rachel Maclean, Madame Yevonde and Gillian Wearing. It’s a combination of projects held within the British Council Collection and macLYON, spanning painting, photography, printmaking and more. Curated collaboratively, the show interrogates friendship as a fundamental relationship that is essential to individual wellbeing and societal cohesion. The show also marks a creative alliance between Birmingham and Lyon, reflecting the diplomatic dimension of connections that transcend borders.
Conflict resolution is an essential part of lasting friendships. Hetain Patel’s (b. 1980) artist film Don’t Look at the Finger explores these aspects of platonic relationships. It’s a stunning, cinematic fusion of cultures that bridges Japan, Mongolia and West Africa. A bride and groom engage in tenacious combat, overseen by a chorus of relatives in the background. No words are spoken as they spar, yet their hands communicate in between blows. They speak to each other through hand gestures that suggest love lingers beneath the conflict. The title of Patel’s piece comes from a quote from martial artist and actor Bruce Lee (1940-1973) in Enter the Dragon (1973), which continues “lest we miss what it is pointing at.” At the end of the fight, the pair regard each other tenderly. After the disagreement, they are closer than ever.
Friendship takes a political dimension in Rachel Maclean’s (b. 1987) The Lion and The Unicorn. Visitors enter the dark mini-cinema through decorated curtains. Maclean plays the animals that represent England and Scotland, alongside a queenly Great Britain, in an artist film that explores alliance and opposition between both countries. Edinburgh Printmakers commissioned the project in the run up to the 2014 referendum for Scottish independence. Maclean incorporates audio clips from former Prime Minister David Cameron and late First Minster of Scotland, Alex Salmond. Debate is also central to the participatory project of Niek van de Steeg (b. 1961). Structure de correction, table de débat (2000). The plastic structure stands in the centre of the room. Benches on either side of an enormous table force attendees to face one another as they draw and write on a massive scroll that loops above our heads. The paper is a record of the conversations between strangers, acquaintances and friends. Since the installation started in Lyon, it’s fascinating to see the marks made by French gallery-goers before the piece arrived in Birmingham.
Friends share life experiences, broaden horizons and build futures. Companions attending Friends in Love and War might be inspired to reflect on their own relationship dynamics. What do they think of the person they have entered the gallery with? It’s a show that illuminates the many faces of friendship to form a nuanced depiction of such a universal human relationship. Established and emerging voices share their perspectives on this topic, inspiring conversations we might have with one another. Beyond self-relection, the show speaks to the personal and political bonds that play an important role in today’s world.
Ikon Gallery, Friends in Love and War | Until 23 Februrary
Words: Diana Bestwish Tetteh
Image Credits:
- Pogus Caesar, Pivot, A Stronger Pull, London, UK (1989), Series Schwarz Flaneur, started in 1983. Black-and-white photograph, 35mm. 44 x 34cm. Courtesy of the artist and OOM Gallery Archive.
- Pogus Caesar by Dee Johnson. Courtesy of the artist.
- Pogus Caesar, See Dat, London (2008), Series Schwarz Flaneur, started in 1983. Black-and-white photograph, 35mm. 34 x 44cm. Courtesy of the artist and OOM Gallery Archive.
- Pogus Caesar, Sweeter than Wine, Tunisia (1986), Series Schwarz Flaneur, started in 1983. Black-and-white photograph, 35mm. 34 x 44cm. Courtesy of the artist and OOM Gallery Archive.
