Interregnum is the first solo exhibition by the Glasgow-based artist Ken Currie, which describes the unprecedented limbo caused by the global pandemic. The title of the exhibition is taken from Antonio Gramsci’s Prison Notebooks, in which he wrote: “The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear.”
When the pandemic started, Christine’s mask and Interregnum were painted. At that time, Currie used the mask as an accessory and deliberately covered it with the 18th century plague to deepen the surrealism of the objects. These paintings now have amazing quality. This evolutionary symbolism is echoed in Chinese gloves, because their practical use is familiar, rubber garments are pierced and displayed, and in the “casting of life”, the whole-body castings of children used for rehabilitation are treated as orders. The disturbing unused decorations are presented, thus showing a darker colours suggestive subtext.
Throughout the exhibition, Currie expressed his keen interest in the historical ritual superstition held by Scotland’s most remote island communities and their dependence on the ocean. The artist implied this cruel and unforgiving lifestyle on the red bare feet in the salt bath, which can be imagined in marine life. Children in wet clothes carry jellyfish in their fragile bare hands, as if they were provided, only for children eyes express tingling. The clothing worn in Liquidator is also reminiscent of Currie’s fishermen, wearing intestinal-covered work clothes and rustic aprons, as if in terrible preparations.