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Published in The Telegraph, September 2014
But the exhibition’s real show stopper is “Chinook”, Banner’s ambitious revisiting of her ambivalent obsession with military hardware. Suspended inside the vast, hangar-like space of YSP’s Longfield Gallery are two huge pairs of helicopter blades that rotate overhead, gathering speed to a whipping crescendo, before gradually slowing down to near motionlessness and then again beginning to gather momentum in a way that, although appearing to be random, is in fact in a carefully programmed sequence.
Published in The Guardian, September 2014
How do you translate the world into words? What is the relationship between language and sensory experiences? Banner turns such apparently dry philosophical musings into exciting, intense, funny art.
Published in The Sunday Times, September 2014
After hanging jets in the Tate, Fiona Banner has moved on to Chinooks in Yorkshire.
Published in Artforum, Summer 2012
If you cross London’s Waterloo Bridge heading south, you will see a familiar complex of large buildings that make up the Southbank Centre - the Royal Festival Hall, the National Theatre, the Hayward Gallery. To the right you will see the more recent gigantic wheel of the London Eye. And currently, perched on the roof of a convenient concert hall, you will see what looks like a new, small, stranded houseboat. It is a sort of houseboat, but it isn’t stranded. It has been designed (by the artist Fiona Banner and the architect David Kohn) to float there for a while. It is modeled on a Belgian river steamer called the Roi des Belges, once captained by Joseph Conrad in the Congo before he mythologized boat, river, Africa and all in ‘Heart of Darkness’ (1902).
Published in The Guardian, November, 2011
The most introspective, serious and moving of all these posters has to be Fiona Banner’s design for the Paralympics, a painted prose poem about the wonder of human, or superhuman, achievement.
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