Leigh Bowery! review – a colossal display of shapeshifting outrageousness and originality | Leigh Bowery

toIFE was a curtain of the performance artist (1961-1994). His appearance was very strange, and his costumes are very different, and she drinks every inch of this Retrospective. He is the god of a boy, Boding Christmas on the legs, Venus Willindorf. he Lady covered with the skin In a compressed mask or richx competition in pistachios, orange polka points are spread up all over his face.

The frame is filled every time, in the photographic period and videos, and it is a huge Australian with a strong head and calves, stands 6 feet and 3 inches and higher in the soles of a tall platform drawn with silver. Although it has been long ago, the feeling of its massive existence is clear from the opening exhibition, as it gives a rack of the first fashion of Bowry an immediate sense of its size.

He had left a quiet suburb in Melbourne in London in 1980, and he was wearing danced coats and tuberculosis jackets with Helpily hats. The first pictures of this show, which is a preliminary drawing of the fashion designer Rachel Oporn, appears to him at the Pisbul hat before lifting his hair. For a moment, this seems to be a width of V & A, and a great closer, which is one uniform after another in elegant Vitrines.

But playing alongside him is a Farhan movie for Buri and his colleagues. Indeed, after the villain Star Trek background. Waiting for the dancer Michael Clark To reach, they turn gossip and density. It looks like a window from Estenders.

Soon we are in Taboo, hosting the Nightclub Bowe at Lester Square’s cellar on Thursday, and a flat Clark on the floor with half -wearing lovers. The shots cover the walls, music mutations. Beautiful monochrome image by David Ginot Bowry appears and his love for free, TrojanIn makeup inspired by Picasso and shiny caps outside the club. Trojan will die in 21 of an overdose.

Bowary’s early writings, which have been widely delivered, like everything about him, wonder about the issue of image changing. It is almost influential, when you think about what will come. It will explode through clouds, slavery, high -end fashion, carnival and disguise to create personalities without parallel. Here is famous Dilmasi dress and maskThe vast Pinstripe suit worn by the sequins that he was wearing to Andrew Logan, Miss Miss’s alternative Unity He used to hide his wife, Nicolas, during “birth shows”, when she comes out of his legs.

Head covers with glowing lamp, coded lace, thick face makeup that completely hides it, the brand egg that is cut off in its skull in every color of the latex and paint. Sometimes it reminds us of its formation Claude CohenEspecially sun masks, lined skirts and eye eyes. But Bowry’s body is not just a complex tool for self -imaging; It becomes a live sculpt POMPOM for headAt some point, it is completely concealed in Lycra White so that the shape of Spredeagled is no longer human ever.

The entire show raises not only another era in the art of music, dance and performance, but also the media. There are clearly innovative magazine buds here Identification cardfor Blitz and the face – Currently, her special celebration exhibition at the National Photo Gallery – as well as for the press. And in the BBC One’s sequence ClothesBowary spends a day at Harrods in Spangled Cover, swing dresses, and mockery simulation. Aunt will not broadcast such programs today.

Bowry continued the fashion design of CLARK dancers, who perform on Pointe in huge platforms and socks with a missing -autumn boom in the autumn in American video artist Charles Atlas Cutting the jumping movie. Bowary toured the band, with wild differences on NOH fashion, as well as an additional layer of high -end fashion pieces from Japan. (It is unfortunate that this offer does not make anything at all its ability to stitches the amazing preparations of old curtains.)

Then he becomes an artistic work in himself, as he advanced daily in front of a dual -direction mirror at the Anthony Devay exhibition in 1988. The contemporary video of Cerith Wyn Evans is recorded every type of pop -pop response, from perplexing to the liberated, in the great exhibition scene as the installation.

There are many pictures in this show, their climax, inevitably, with Lucian Freud’s naked studies on Bowry Lolling, sleep, or bound on the floor with one leg, which spends a huge challenge for both his nakedness and the painting that works greatly. Puri is said to have led to an incomplete work of Freud.

What is missing from this show is any hint of deliberate Grotesquerie, either urination and defecation in small clubs on stage. Baked clips of Boriri, who gives birth to his wife, gives a size to his subsequent performance, in a blatant contradiction with the elegant image of Fergus Jarir of the trained couple together.

But there are words as well as pictures in Modern Tate. Perhaps this is the place where Bowry’s feelings appear in the mail cards of friends, all the heavy emotion and explicit humor, and in his memoirs A3. Entry from 1990, after a great success of the show, reads: “Hungover, depression, full of remorse, not money.” Bowry already knows that he will die. His secret kept his illness, and he told his only friend to explain his final absence as a journey abroad. I told them that I went to Papua New Guinea, which is the title of Bowary offer in Fitzrovia in 2022, at the Middlesx Hospital site, where he died due to AIDS disease in 1994.

This retroactively grows harder, darker. The shapes become more swollen, and the shapes are more exaggerated. Some pictures are evil and ugly.

Even in his Civvies, I love Bowry, wearing a wig, jumping, unorganized tape from the tape to rid one eyebrow. He wanted to be like this, “the eccentric on the street is to tell your mother about.”

But look at the denim jacket that flies with gold feathers, which turns into more than thousands of blond hair pins, or its beard of coarse pegs. Or multicolored tapes hurt his naked body, such as bright rollers in John Lewis. Make yourself new every day.

This is amazing, in the end – this is extreme originality. Regardless of the body with which you were born, or the extent of shock that may appear to others, Bowary’s work is a lesson in research – and living – like anyone else.