With references to “dazzled” genitals, simmered organs, and pornographic evasion, the essay accompanying the exhibition has no shortage of insinuations. While the show makes no explicit promises, it does claim to toe a line between the anxiety of sexual urgency and the freedom of absolution.
However, if one does not read the essay, they may just see the word “hardcore,” whose connotations are as varied as they are wavering, depending on where you are, who you are, how old you are, etc.
We attended the opening on 25 May and asked the audience, what’s your hot take?
HOT TAKE 1: It was vulnerable maybe, but not shocking. Very intimate as well. But is it supposed to be shocking? Is that was hardcore is?
HOT TAKE 2: I felt it was more sensitive than hardcore, maybe it’s doing the kind of opposite of what it says. Perhaps it was a bit try-hard?
HOT TAKE 3: We would have expected a bit more I think. Overall it was very apt and very eloquent, and actually quite intimate, and I think that it requires more intimacy with the work – which you just don’t get at an opening like this anyways.
HOT TAKE 4: I didn’t find anything that shocking. It wasn’t walking any line for me. I wasn’t expecting it to provocate me though. I mean it just comes back to this de-sensationalised society that we exist in now. There are also paintings in there which are also just like, nudey paintings of a crotch or whatever. I just don’t know to what extent sex or porn even is hardcore.
We were talking about this work in there that’s like a pendulum of belts, and it’s swinging. It makes a rhythmic noise. That felt like the most kind of successful work, because it’s about movement and gestures – and noise. Also rhythm. The rhythm is what I really pulled from it – and the movement. Enacting movement in that space where everything else is pretty much static.
HOT TAKE 5: I think it’s better that it’s not so obvious and pornographic.
HOT TAKE 6: It’s hard to see it with so many people there, but I think there are some things that are maybe more explicit than they should be and some that aren’t.
HOT TAKE 7: I didn’t feel any sexuality. Some things lift you up and some things drag, so it’s a good balance. I think because of the story – there was that one guy, the photography of the guy who is stretching his penis out and another guy who suffered this like, sickness. Then there’s other things which are maybe like, more funny. It didn’t make me think about sex at all.
HOT TAKE 8: It wasn’t that hardcore. I was expecting to be a bit shocked from the title – like “hardcore,” oh okay.
HOT TAKE 9: How can we be shocked? What would you actually want to see that could really shock? I can’t even think of anything.
HOT TAKE 10: I was just really hoping there wasn’t anything that was actually offensive – so I am relieved.
HOT TAKE 11: I have to say, the archival work of Cindy Sherman’s still has, to me, this impact in a way that feels more visceral than some of the other works.
HOT TAKE 12: They’re provocative in a way that really makes you think – but maybe that’s where the “line” is.
HOT TAKE 13: I try not to have any expectations. I found it not necessarily disturbing, but not trying to portray these glossy images of sex, which is refreshing for me, and shows that it is not trying to sexualise these images.
I feel like the word “hardcore” is more like a hot name or a buzz word than necessarily referring to sex at all. That’s why it’s a very busy show.
HOT TAKE 14: I was kind of surprised that with a title like hardcore there wasn’t more queer representation.
HOT TAKE 15: I don’t know what hardcore even means anymore.
HOT TAKE 16: I’m underwhelmed, and maybe that’s the point. It wasn’t actually provocative at all. I thought from the couple of images I’ve seen from the promotion like, oh it’s going to be…
HOT TAKE 17: I felt like it was very well done, but not shocking enough. I suppose I think it could have been more activated in a way. An artwork should transport you. I think it needs to be more sensorial, like maybe with smell or something.
HOT TAKE 18: Someone told me some kind of rumour that there would be live sex performances happening, but I didn’t see anything like that – at least not when we were here.
HOT TAKE 19: I’m not saying it’s all crap, not at all. I just don’t like a group show. I sort of find it’s really hard – you can never get to know the work that well.
Hardcore is curated by Sadie Coles and John O’Doherty. Featured artists: Darja Bajagić, Monica Bonvicini, Miriam Cahn, Elaine Cameron-Weir, KING COBRA (documented as Doreen Lynette Garner), Bob Flanagan and Sheree Rose, Maryam Hoseini, Tishan Hsu, Stanislava Kovalcikova, Bruce LaBruce, Tayeba Begum Lipi, Monica Majoli, Tiona Nekkia McClodden, Carolee Schneemann, Joan Semmel, Cindy Sherman and Andra Ursuţa.
Hardcore is on view through 5 August at Sadie Coles
62 Kingly Street
W1B 5QN, London
More information and accompanying essay by Reba Maybury here
