Four centuries of automata jolt into wondrous life in a show that’s as much performance as it is exhibition
Standing sentry at the door to this enthralling exhibition is a lively figure known as The Connoisseur. He wears a linen suit and an expression of expert discrimination. Press a button and he leans forward to examine some unseen object, then gradually backwards to give serious weight to his judgment. He might be one of us, a fellow visitor who is also our surrogate.
Tim Hunkin’s sculpture – made out of papier-mache art reviews, some from this very newspaper – is comical, mechanical, exquisitely expressive. It is both a work of art and an automaton. So it was with the earliest automata: the mythical clay figures animated by Prometheus; the female statue that Pygmalion brought to life and loved; and so it remains. This is one crucial difference between an automaton, a robot and a puppet.
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