Wolterton Hall is folded so deeply into the countryside of the Bure Valley that you can’t even see the grand Palladian mansion when you enter the gates to the estate. This was once one of the four power houses of Norfolk, built by Thomas Ripley for Horatio Walpole. Inside, Wolterton is dripping in 18th-century treasures, furniture, then-fashionable Belgian tapestries, fusty old portraits of important types – but now also, knobbly bodily things, strange almost familiar shapes stuck to walls and chucked down the stairs, as if someone– namely Phyllida Barlow – had come in and trashed the place.
It’s a difficult thing to know what to do with these former country stately homes. Many have adopted a contemporary art programme as a way of challenging their history and bringing in new visitors. Simon Oldfield – Wolterton’s artistic director, brought in by the new owners, the Ellis family, two years ago – has done more than that. He has reinvented the space, making room for new ideas to take over. There’s no better artist for that than Barlow, whose works seem to take on a life of their own wherever they go. Her exhibition begins at the entrance, where the explosive installation Untitled: Stacked Chairs greets you. The cacophony of red plywood chairs feels like a statement about throwing things out and starting again. It’s rebellious, disruptive and direct.
