The artists Richard Wilson and Anne Bean performing by the River Thames
Long before its current notoriety as the source of the coronavirus pandemic, the Chinese city of Wuhan has been renowned for producing the finest gongs and symbols used by musicians worldwide. There was a welcome reminder of these happier associations on the foreshore of the River Thames last night when the British artists Richard Wilson and Anne Bean deliberately used their wide range of Wuhan metal ware of all sizes to salute both the full moon and the low tide—and also to offer a cathartic antidote to all the strictures that surround us.
Banging Wuhan gongs and clashing Wuhan symbols, the pair enthusiastically revisited their roots when, as members of the radical Bow Gamelan ensemble in the 1980s, they created literally explosive performances using scrap metal, engines and pyrotechnics, as well as these more conventional Chinese percussion instruments. Richard Wilson may now be a venerable Royal Academician but was more than happy to get down and dirty, crawling on hands and knees and hitting cymbals on stones while making his way to the waters edge, alongside Bean.
Mary Lemley's 40ft banners
However, this time the only fire involved was in the trays full of flaming sambuca offered rather lethally as the evenings final incendiary toast to reclaiming the Wuhan name. (But it was still dispensed with greater social distancing than that shown by many other drinkers on the weekend when Englands lockdown loosened and pubs and restaurants reopened for business.)
Providing a backdrop to these shoreside antics and forming the other strand of Beans monthly Come Hell or High Waterprogramme on this scrap of Thames foreshore were 14 giant calico cloths, suspended from the embankment walls down to the beach below. Back in summer 1992, these 40ft banners were installed by the artist Mary Lemley at low tide at the point where 14 forgotten London rivers feed into the Thames, from the Beverley Brook in Putney to the Ravensbourne in Deptford Creek. They were then removed at the next low tide, sometimes caked with mud, sometimes crusted with debris or—in the case of the cloth submerged in Earls Sluice at Rotherhithe—shrimps.
Anne Bean and Richard Wilson showing off one of their Wuhan cymbals
Red ochre stitched by Lemley into a pocket running down their centre also bled out across tRead More – Source