Edinburgh College of Art Degree Show 2009

Article by Mark Shukla | 22 Jun 2009

It's with an unsettling sense of déjà vu that The Skinny skulks into ECA for its annual binge of art and design – two weeks of organised subversion during which consensus reality is politely refused entry on the door in order that the students within may gleefully guide us through the labyrinth of their myriad alternate worlds. Of course this feeling of reiteration isn't helped by the fact that the number of Edinburgh degree shows this particular hack has seen will soon hit double figures, but it's impossible not to pick out recurring modes and strategies that are present each year – this year more so than ever. Witness the credulous toddler gamboling happily past the scrawled obscenities and images of fellatio as his parents try to play it cool ("don't go near those, Thomas"); hark at the droning loops that provide the ambient soundtrack to the numerous shadowy grottos; furrow your brow at the notable lack of serious figurative work. Trite comments perhaps, but nevertheless this is a degree show that lacks a sense of freshness.

In addition to this, the unspoken axiom that departmental ghettoisation is best combatted by a concept-heavy, multi-disciplinary free-for-all has led to a burgeoning sense of homogeneity within the college as a whole - an unfortunate upshot of an ideology intended to promote unorthodoxy. On a practical note, the college's decision to turn the sculpture court into a market stall for the fashion and performance costume students is an unforgiveable error of judgement. The removal of this traditional and always arresting centrepiece – where usually one would find the biggest and boldest installations – leaves a gaping hole at the heart of the degree show.

Griping aside, there's still an abundance of superb work to take in throughout the college. The Sculpture department acquits itself admirably as usual: Alexander Allan's monumental construction of bricks and driftwood has already grabbed headlines and Tori Jennings' attempts to capture the 'thingness' of various animals without using literal representation has resulted in a wonderfully creepy but compelling display. In painting, Jennifer Harmer's simple installation using yellow tissue paper is strangely moving, whilst Lottie Lindsay's work, including some eerily beautiful photographs intended to promote optimism, is similarly potent. Film and TV is also strong this year, notably Tali Yankelevich's poignant short which sensitively documents the life of a stoical housekeeper and the ailing Greek Orthodox patriarch she spends all her waking hours tending to.

As always, the sheer amount of work on display is intimidating: you couldn't take in everything properly even if you spent half a day wandering around, and no two visitors will have the exact same exhibition experience. It may not be a vintage year by the college's own high standards, but you'll not see another show like it in 2009. [Mark Shukla]