Dirt: The Filthy Reality of Everyday Life, Wellcome Collection | reviews, news & interviews
Dirt: The Filthy Reality of Everyday Life, Wellcome Collection
Dirt: The Filthy Reality of Everyday Life, Wellcome Collection
Get down and dirty with this filthy exhibition
Wednesday, 23 March 2011
Poster for the First International Hygiene Exhibition, 1911Photo credit: Deutsches Hygiene-Museum, Dresden
Weeds, memorably, have been described as merely being plants that grow where we don’t want them. Walking through the Wellcome’s fine new exhibition, we can conclude that the “dirt”, too, is merely material appearing out of its appropriate location. One man’s waste is another man’s fertiliser; one civilisation’s dust-heap another’s city foundations. Children first planting a window box learn that “dirt” is alchemy: stick in a seed, out of the dirt comes dinner.
Weeds, memorably, have been described as merely being plants that grow where we don’t want them. Walking through the Wellcome’s fine new exhibition, we can conclude that the “dirt”, too, is merely material appearing out of its appropriate location. One man’s waste is another man’s fertiliser; one civilisation’s dust-heap another’s city foundations. Children first planting a window box learn that “dirt” is alchemy: stick in a seed, out of the dirt comes dinner.
There are fascinating objects in this section - I am less certain about the "Intestinal excretion from patient with cholera”
Share this article
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.
To take a subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Visual arts
Brancusi, Pompidou Centre, Paris review - founding father of modernist sculpture
Uplifting quest for form and essence in a landmark Paris show
Expressionists: Kandinsky, Münter and the Blue Rider, Tate Modern review - a missed opportunity
Wonderful paintings, but only half the story
Eye to Eye: Homage to Ernst Scheidegger, MASI Lugano review - era-defining artist portraits
One of Switzerland's greatest photographers celebrated with a major retrospective
Stephen review - a breathtakingly good first feature by a multi-media artist
Melanie Manchot's debut is strikingly intelligent and compelling
Fantastic Machine review - photography's story from one camera to 45 billion
Love it or hate it, the photographic image has ensnared us all
Yinka Shonibare: Suspended States, Serpentine Gallery review - pure delight
Weighty subject matter treated with the lightest of touch
Jane Harris: Ellipse, Frac Nouvelle-Aquitaine MÉCA, Bordeaux review - ovals to the fore
Persistence and conviction in the works of the late English painter
Sargent and Fashion, Tate Britain review - portraiture as a performance
London’s elite posing dressed up to the nines
Zineb Sedira: Dreams Have No Titles, Whitechapel Gallery review - a disorientating mix of fact and fiction
An exhibition that begs the question 'What and where is home?'
Yoko Ono: Music of the Mind, Tate Modern review - a fitting celebration of the early years
Acknowledgement as a major avant garde artist comes at 90
Unravel: The Power and Politics of Textiles in Art, Barbican review - the fabric of dissent
An ambitious exploration of a neglected medium
When Forms Come Alive, Hayward Gallery review - how to reduce good art to family fun
Seriously good sculptures presented as little more than playthings or jokes
Add comment