Edinburgh Art Festival
Peter Doig, Franz West, Peter Liversidge, Gregor Schneider, Lawrence Weiner, Sara Barker
By Oliver Basciano

‘Tension’ is one of those words that art critics like to use too much. It’s a way of saying (or perhaps hoping) that there could be an argument at play within a work or exhibition. Tension in a more common idiom, can also equate to awkwardness. There’s that type of social tension by the bucket load in Gregor Schneider’s new installation. Schneider’s infamous schtick is immersive, maze-like, installations designed to unnerve his viewers, who must enter individually. Before entering Süßer Duft Edinburgh 2013 (2013), I rather cynically assumed I had Schneider pegged down and that nothing would shock me. I was wrong. Which is all I want to say about this. Partly because I don’t want to spoil the surprise of those who will make it to see the work; but also because the interpretation of the work will be entirely dependent on the prejudices, outward or underlying, of the viewer, whether they are male or female, gay or straight, black or white. As a gay white male I had my own reaction towards the piece: but it might not be the same as yours. Suffice to say, it’s a genuinely powerful, thought-provoking piece of social commentary and object lesson in personal psychology.