you dont need a weatherman to know which way the wind blows

He has suggested of his ceramic works that they might be marquette for bad ideas.Īngell refers to compost when discussing his work: from its Latin root compositus - it is literally ‘something put together.’Ĭompost takes centre stage in A Way to Untilled (HD, 14 min, 2012/2013) by Pierre Huyghe made during his Untilled garden installation at Documenta 13 (2012). They recall historical depictions of the birth of the Industrial Revolution – chimneys, stumps, pipes, water wheels and scars in the landscape. They are informed in part by idealised visions of hobbyists. His sculptural tableaux depict colourful, fantasy landscapes. They are imbued with tradition and then again exploit its collapse.

Working in ceramics, Aaron Angell’s works are at once formal and formless, carefully constructed and carelessly concluded. The exhibition can be seen as a conversation between works where animals might figure as an indicator of a range of realities be they social conditions, life cycles, a way to describe weight, history, transformation of volume, or used to explore states of mind. The exhibition title references Dylan whilst looking at works by a selection of artists that deploy animals to speak of moments of change.

With these lyrics Dylan encouraged the young to make their own understanding of the changes of circumstance and in anticipation of the future. The song speaks of the politics of the time, of counterculture and the American Civil Rights Movement. You don’t need a weather man to know which way the wind blows are lyrics taken from the iconic Bob Dylan song Subterranean Homesick Blues originally released in 1965. YOU DON’T NEED A WEATHERMAN TO KNOW WHICH WAY THE WIND IS BLOWING

You dont need a weatherman to know which way the wind blows