The One That Got Away: McDermott & McGough ‘The Oscar Wilde Temple’ – 离开的那个:麦克德莫特&麦高夫《奥斯卡王尔德寺庙》

Like its namesake, ‘The Oscar Wilde Temple’ is not shy of the limelight. It comes clad in extravagant florals. Gilding abounds, lights sparkle and the décor is nothing if not de trop.

Like its namesake, too, the Temple knows language as both weapon and armour. ‘Cocksucker Mary Faggot Queer Homo Fairy Femme Nellie Pansy’ reads one of its devotional panels. The words cascade in a flourish of mismatched swirls. Flamboyance steals some of the sting, and ‘Mary’, picked out in large red letters, rules over all: our holy mother of camp. This is the painting A Friend of Dorothy, 1943 (1986) an early work by American artists McDermott & McGough, the artist duo responsible for this wild Wilde Gesamtkunstwerk.


The One That Got Away: McDermott & McGough ‘The Oscar Wilde Temple’ - 离开的那个:麦克德莫特&麦高夫《奥斯卡王尔德寺庙》

David McDermott and Peter McGough started working together in New York in 1980. In that decade they dressed as dapper Edwardians and lived in an East Village building returned to the candle-lit splendour of the era it was constructed. Their art – as far as you could separate it from their lives – explored the mores, imagery and techniques of decades past. Notably: mannered portraiture rendered in cyanotype.

In the artist’s secular Temple, housed in the former Victorian Methodist chapel which Studio Voltaire calls home – Wilde’s likeness stands carved beatific in honeyed wood before the altar. Behind him, a painting of a green carnation – his decadent buttonhole – inscribed C33, the number of his cell at Reading Gaol. Portraits of victims of homophobic violence ranging from anonymous street kids to high profile campaigners flank Wilde. At the back of the Temple, a book of remembrance is open for those lost to the AIDS crisis.


The One That Got Away: McDermott & McGough ‘The Oscar Wilde Temple’ - 离开的那个:麦克德莫特&麦高夫《奥斯卡王尔德寺庙》

McDermott & McGough, The Stations of Reading Gaol (VI. Oscar Wilde in Prison), 1917, oil and gold leaf on linen 61 x 46 cm. Courtesy: the artists and Studio Voltaire, London

A dozen panels illustrate Wilde’s arrest, trial and incarceration: Stations of the Cross for a martyr to public hysteria and to rage wearing the culturally convenient mask of homophobic intolerance. It feels grotesque that this Temple, inspired by events in the 1890s, with its roots in the sex wars and AIDS crisis of 1980s New York, should come to its fruition in a year when such rage and hysteria are ever more evident, ever more normalized, on the global stage.

A sign in the entrance hall reels off a list of phenomena the prohibition of which, some five years ago, would have seemed implausibly over the top:

White Supremacy

Only Love Here

So this is a sanctuary. There is melancholy here, and pause. But the Temple is also a site of glory and warmth. The transformation of Studio Voltaire is total. As well as passionflower-patterned wallpaper reproduced to a design from the Aesthetic movement, McDermott & McGough have installed wood panelling, stained glass windows, brass candelabras, and have raised the height of the floor. (The floorboards are those installed earlier this year at Chisenhale Gallery for Lydia Ourahmane’s ‘The you in us’.)


The One That Got Away: McDermott & McGough ‘The Oscar Wilde Temple’ - 离开的那个:麦克德莫特&麦高夫《奥斯卡王尔德寺庙》

McDermott & McGough, ‘The Oscar Wilde Temple’, Studio Voltaire, London. Courtesy: the artists and Studio Voltaire; photograph: Francis Ware

Facing off against all the bold-print bigotry on the international stage, 2018 has felt riven by lower-level intolerances that recast binary Christian notions of sin in the mode of liberal sanctity. Raising Oscar Wilde as a martyr consecrates the Temple as a site to glorify the complicated, conflicted, proud, mercurial, moody, ravenous, sexual, confused, intoxicated, flamboyant, rude, infuriating, flawed and human among us. We who are mysteries also to ourselves.

‘The Oscar Wilde Temple’ runs at Studio Voltaire, London, until 31 March 2019. It can be booked for events.

Hettie Judah

Hettie Judah is a writer based in London.

Opinion /

Looking Back
Looking Back 2018
Hettie Judah
Studio Voltaire
McDermott & McGough
Oscar Wilde

就像它的名字一样,《奥斯卡王尔德寺庙》并不羞于成为众人瞩目的焦点。它穿着华丽的花束。到处是镀金,灯光闪闪发光,而装饰品如果不是装饰品就没什么了。和它的名字一样,圣殿也知道语言既是武器又是盔甲。《吸血鬼玛丽·法戈特·同性恋神话中的女神奈莉·潘西》读到了它的一个奉献小组。字串成错配的漩涡。华丽夺去了一些刺,“玛丽”,用大红字挑出,统统规定:我们的圣母露营。这是多萝茜的朋友,1943年(1986年)的作品,是美国艺术家麦克德莫特和麦高夫的早期作品。麦克德莫特·麦克德莫特和彼得·麦高夫于1980年在纽约开始合作。在那个十年里,他们打扮成衣冠楚楚的爱德华教徒,住在一座东村的建筑物里,这栋建筑又回到了蜡烛光辉的时代。他们的艺术——只要你能把它从他们的生活中分离出来——探索了过去几十年的风俗、意象和技术。值得一提的是:用蓝绿色绘制的矫揉造作的肖像。在艺术家的世俗庙宇,住在前维多利亚卫理公会教堂,伏尔泰工作室称之为家-王尔德的肖像站在圣坛前用蜜木雕刻的幸福。在他身后,一幅绿色康乃馨的画——他颓废的钮孔——刻着C33,那是他在雷丁高尔的牢房号码。从匿名街头流浪儿童到王尔德身旁高调的活动人士,恐同性恋暴力受害者的肖像。在寺庙后面,一本纪念册正在为那些在艾滋病危机中丧生的人们开放。6.1917年,亚麻布61x 46 cm上的油和金叶。礼貌:艺术家和伏尔泰工作室,伦敦。十几个小组展示了王尔德被捕、审判和监禁:十字车站,一个殉道者戴着仇视同性恋的文化方便面具,在公共场合歇斯底里和愤怒。这个寺庙受1890年代事件的启发,起源于上世纪80年代纽约的性战争和艾滋病危机,当这种愤怒和歇斯底里的情绪在全球舞台上越来越明显,越来越正常化时,它应该在一年内取得成果,这感觉很奇怪。入口大厅里的一个牌子勾勒出一系列现象,五年前,这些现象的禁令似乎令人难以置信地超越了顶部:没有恐同性恋者
White Supremacy
反移民只爱这里,所以这是一个避难所。这里有些忧郁,停顿一下。但是寺庙也是光荣和温暖的场所。伏尔泰工作室的改造是全面的。麦克德莫特&麦高夫除了仿照美学运动设计的西番莲花纹壁纸外,还安装了木质镶板、彩色玻璃窗、黄铜烛台,并提高了地板的高度。(楼板是今年早些时候在齐森哈尔美术馆为Lydia欧拉曼的‘在美国的你’而安装的地板。)奥斯卡荒野寺由mcdermottmcgougmcgougmcgoug演播室伏尔工作室奥斯卡野生寺由mcder莫特-mcgoug演播室工作室伏尔工作室伦敦-2010年10月3-2010年10月3-2018-2010年10月3-2010年3月31-31-3月31-2019-由艺术家和演播室伏尔电压信用信用信用信用-艺术家礼仪工作室伏安信用-礼仪软件_44.jpg._44.jpg._wpg纸6023236060602imimim602imimimimimimimimimimimimimimimimim 6060602imim《奥斯卡王尔德寺庙》,伏尔泰工作室,伦敦。礼貌:艺术家和伏尔泰工作室;照片:弗朗西斯·威尔·弗朗西斯面对国际舞台上所有大胆印刷的偏执,2018年,人们感到被低级的不宽容所撕裂,这种不宽容以自由神圣的方式重塑了基督教的二元罪恶观念。把奥斯卡·王尔德当烈士来抚养,使圣殿成为一个圣地,以颂扬我们当中复杂、冲突、骄傲、喜怒无常、喜怒无常、贪婪、性欲、困惑、陶醉、浮华、粗鲁、恼怒、有缺陷的人类。我们对自己也是神秘的。《奥斯卡王尔德庙宇》在伦敦伏尔泰工作室上映,直到2019年3月31日。可以预订活动。赫蒂·犹大是伦敦的一位作家。回首2018年


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