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Free Shipping to All Lower 48 States. This, despite the fact that the artists who are teaching in art schools are by that very fact, in multiple employment; at the very least they are teaching as well as making art, with many teaching in more than one institution or employed by other organisations. With the premise that the works in the show, when looked at collectively might manifest something of the synthesis of making and teaching at a point in time, the curation, installation and ensuing schedule of events teased out the relationships between the two activities further.
Uses of 'ma': towards a methodology for transforming a Japanese aesthetic paradigm into trans-cultural forms. Ajaykumar's meta research concerns the engendering of new epistemologies in ontological art practice: investigating the contemporary pertinence and evolution of a hypothesis of 'dependent origination' beyond its original Buddhist cultural and religious significance, particularly with regard spectatorship.
Ajaykumar devised foyer, lasting fifteen days, where the primary spectators were the people who worked in and frequented Riverside Studios London. The regular journeys made through its foyer were mediated by the creations of arcs of micro-gardens, where herbage grew and was allowed to eventually die. From Tunisia all the way to Saudi Arabia, this landmark exhibition brought together more than twenty-five recent works and commissions by some of the foremost artists from the Arab world.
It is made up of images of a landscape bearing traces of natural and man-made activity as well as ancient and contemporary structures. Seen from above, the landscape appears abstracted, its buildings flattened and its inhabitants invisible to the human eye. Only when the sun is at its lowest, do the features on the ground, the archaeological sites and settlements come to light. Much like a photographic plate, the landscape itself holds the potential to be exposed, thereby revealing the memory of its past.
Shadow Sites II recreates the aerial vantage point of such missions while taking an altogether different viewpoint of the land it surveys. The film burrows into the landscape as one image slowly dissolves into another, like a mineshaft tunnelling deep into a substrate of memories preserved over time.
Inspired by both archival photographs and contemporary news reports, Jananne Al-Ani has created a new body of work that explores enduring representations of the Middle Eastern landscape. Shadow Sites II , her most recent video installation, is exhibited alongside a selection of extraordinary original prints by renowned archaeologist Ernst Herzfeld — Separated by nearly a century, these works pose fascinating questions about the impact of photography on views of the Middle East.
The works of art, all expressing cross-overs between art, science and technology, were displayed throughout the Royal Institution of Great Britain building. Scientific advisers: Prof. Concrete Jungle, an exhibition featuring video works curated by Alexandra White. Annka Kultys Gallery is pleased to present Concrete Jungle, an exhibition featuring video works curated by Alexandra White.
Set within the iconic concrete architecture of the Brazilian Modernist architect Oscar Niemeyer, the works on view explore the physical and psychological boundaries between the human and architectural body within the specific context of Brazil. The most obvious juxtaposition, however, lies in contrasting the two buildings that serve as both backdrop and theme within the works. Niemeyer, however, despite the urban-centric focus, preferred to build Casa das Canoas as his own home on the periphery of bustling Rio to escape the anxieties of city life, in the more natural setting of Barra da Tijuca, a would-be tropical paradise.
Influenced by the work of Brazilian artist Lygia Clark, Williams Gamaker and Kouneski have worked collaboratively to produce two performative video pieces. In Scaling Copan the artists — on hands and knees — scale the curvilinear ledge of the 22nd floor of the Copan building.
The anxiety-inducing performance lays bare the rawness of sensation; the climax being the point at which the artists dangle their feet over 22 floors. A second work from the series, Sensitising plastic bags , is a five minute video of the artists on the same ledge breathing into plastic bags.
The bag, for Clark, functions as an extended skin or connective tissue. With its large glass windows and distinctive Niemeyer curves, Casa das Canoas is on full display. The film shifts between discussions amongst invited guests — friends of the artist, academics and politicians — that range from Modernist architecture to the military dictatorship via the quality of Brazilian champagne. In one conversation, for example, guests lament the tendency for Brazilian Modernism to build luxury homes such as Casa das Canoas for the wealthy — on the backs of an underpaid labour force — rather than implementing the utopian vision of supplying social housing for the masses.
While the guests discuss issues of race and class in Brazil, in between spurts of dancing and hanging out by the pool, black waiters serve champagne and cocktails. Through highlighting the contradictions of the intellectual elite, Canoas challenges the notion of Brazil as an exotic paradise, as mythologised in the writings of the anthropologist Gilberto Freyre, in which desire transcends class and racial divides.
Concrete Jungle is presented at a time when, notwithstanding the international focus brought by the World Cup and the Summer Olympics, the utopian possibilities of Brazil have once again become a distant memory. In this exhibition I responded to the environment by installing 9 Reflective Editor works. These were machine-tooled cast acrylic sheets, with a highly reflective black surface featuring a variation of grid-like apertures. This exhibition enabled me to develop themes of space, reflection, geometry and repetition that have occupied me consistently.
Thus the space I research is simultaneously real and imaginary; visual but not always accessible. My Reflective works are both editors and objects: one looks through them to the wall behind , but also at them as both a mirror and a grid and the viewer is encouraged to connect each work as a serial development of the grids themselves. Swiss art collective Annelore Schneider and Claude Piguet curated an evening of short videos by Swiss and British artists. In the work, the family represents ordinary individuals, often placed in extraordinary circumstances — secondary characters whose existence provides a focus for the viewer for events in the world which surrounds them.
David Aronsohn works in sculpture, drawing and print. He has studied fine art at Chelsea and the Slade School of art. He divides his time between making work for exhibition and teaching. Project was accompanied by performance tours of the shopping centre and a subversive sign writing workshop in collaboration with traditional boat sign painter.
All works started as titles made form words gleaned from the festival's data protection policy, which were then interpreted as works which reflect on how we value individual peculiarities. Let's Go Out! This project brings together work from artists for whom education and learning are subjects of investigation. Through the processes and methodologies of art-making, workshops and participatory discussions, traditional and alternative ideas of education are explored.
The exhibition is comprised of sculpture, print, performance and text. Vorkurs is the name of the preliminary course undertaken by every student at the Bauhaus, the educational philosophies that informed the course have had an impact on the way we think about knowledge and learning both in the arts and wider society.
Similarly, the tension between open, experimental learning approaches and the standardisation and assessed outcomes of a curriculum remain relevant. The artists and workshop facilitators involved in this project also work in arts education; leading sessions in public and independent art institutions, teaching in state and private schools, or running informal workshops in artist led spaces and community centres.
Over the course of the exhibition workshops will be held with school children and college students from the local area. There will also be a Library of related reading and media. A co-directed film for screening and an accompanying series of 5, 12 and screen video installations exhibited in commercial galleries, museums and cinema contexts.
Emotions and Capitalism was a screen video installation designed for Vaal gallery. For the first time, the works of Edvard Munch are being exhibited together with a comprehensive video installation. Madame B has been created by Michelle Williams Gamaker together with the internationally renowned culture theorist, artist and curator Mieke Bal, who is also curator of this exhibition. Through this confrontation, we are challenged to reflect upon how we view one another in social contexts.
The different halls of the exhibition are linked to themes surrounding the subject of social loneliness and the cinematic form of expression. Loneliness is often caused by a lack of communication and manifests itself through a socially awkward exchange of sideways glances. The painting is exhibited in close proximity to a wedding scene in the Madame B video installation showing newlywed Emma B — ruefully and in desperation — moving amongst the guests, who are busily occupied gossiping about her.
Consequently, we will see surprising connections and gain new perspectives of the respective works, and — if we let it — also on our own lives. Adapted from the legendary, prophetic novel from , Madame Bovary by Gustave Flaubert, updated into an ambitious feature film about our own time, Madame B explores the way dominant ideologies from the late nineteenth century — specifically, within the framework of patriarchy, capitalism and its investments in emotions, while love is for sale - are still rampant; today more than ever, perhaps.
Capitalism and gender ideology, both luring people with that carrot of the contradictory expectation of permanent excitement, conspire to make individual lives hard, disappointing, and sometimes ruinous. By drawing on classic literature in order to provide an allegory for contemporary mores, the work will offer a radically new interpretation of the text, replete with powerful symbolism that evokes this reimagining. In this way, Madame B questions visually the role of women in a society driven by masculine and capitalist impulses.
At the same time, the film explores ways in which cinematic writing can be turned into visual story-telling. Crated by Craig Fisher and Simon Franklin. The collection of individual objects will become one overarching piece, a visual spectacle, where the works act as the material and start to make the definition between the artist and the curator.
The cyclists wore unifying but not identical hi-vis yellow clothing and appeared and disappeared from each entrance to the square. The performance was intended to celebrate cyclists their slightly anarchic presence as they navigate the city, critical mass cycle ides and as a response to highly designed and orchestrated conditions of the square with its tides of footfall and synchronised fountains.
The artists used the farm as a studio over a week in April with the interest in allowing the artists processes of experimentation, play, testing to be encountered by visitors and trainees at the farm. Formalized reflection on strands of practice deployed in this project are intended to contribute to ongoing discussion about how artists can find ways of working in response to locality.
The work is a proposal about ways in which we might deploy urban surfaces in improvisational, inspiring, viable ways. The trees are intended to be constantly changing, slightly mysterious, companionable presences interrupting the built Archway skyline and suggesting nature in our midst if slightly adrift. Notions of orientation, cultivation, care, autonomy and inter-dependence were suggested as a common link. The plant-life was collected from the lake surrounds and placed to suggest semi-tended but renegade spaces while echoing the large lily pads in the lake.
With their slightly precarious equilibrium, wayward vegetation and possibly toxic buoyancy, the islands were an ambivalent proposal suggesting adaptation, amelioration, anxiety and pleasure in no particular order. The recently closed Wearlite factory produced English country clothing, horse blankets, sleeping bags and the first duvets sold in the UK.
The aim was to make the space visible to visitors before it was sold and redeveloped and to highlight a community of making in Tottenham, touching on the wider context of precarious times for production locally and globally. Six artists were commissioned to produce new work in response to the factory, variously drawing on its history of making, the remaining machinery as well as the physical properties of the space. Intended to create a pause to remember moments in time before the factory is redeveloped, the project explored labour, migration and memory.
The screening included recent films by Chinese, North American and European filmmakers who have responded to factories and questions around manufacturing and labour through their work. The music night with Haringey music collective Kourelou, explored themes of labour and migration through Greek, Cypriot and Balkan folk music.
The associated exhibition at Bernie Grant Arts Centre included photographs of the factory by artist Miles Umney, original pattern pieces from the factory and audio extracts are from conversations with George Myristis, founder of Wearite, and Alessandra Savouri, a former Wearite machinist, recorded in February This material, and further objects gathered from the factory, will be deposited with the Bruce Castle Museum.
For over 30 years the Crafts Council has been giving support to the creation of new works of craft to ensure that they are seen and enjoyed widely across the UK and abroad. My own photographic work is primarily concerned with people, identity and environments so this project was an opportunity to put some of my own personal ideas into practice whilst producing a coherent set of images for the project.
I opted for a simple direct approach to give this body of work an integrity and visual cohesion. I chose ambient lighting, the same wide-angle lens throughout. The emphasis was on the individual, within their domestic landscape or working environment. I travelled across England, Scotland and Wales over a period of three months in early to produce the largest and most wide-ranging documentary of British makers ever commissioned. Few people gain access to this sensitive comfort zone.
Watching my own teenage daughter growing up made me acutely aware of this process. In the past decade only two photographers, Adrienne Salinger and Lauren Greenfield, have looked at urban youth in a domestic context. This series of portraits were taken with the co-operation and collaboration of the sitters. Here they are, on their home territory, presenting themselves to the world for posterity, exactly as they want to be seen - highly engaged, confident and dignified. It takes 'always be looking' as its guiding principle, and comes from a long-term interest in the street, environments and a love of light and space.
In Visual Athletics Club I have applied rigorous selection criteria. Diptychs create third effects and different meanings that deny the original context of the images. Nonhuman Networks presents an aesthetics of new forms of communication between human and nonhuman actors.
Alice Herrick gallery at Q. Five artists. It is an inquiry into the relationship between the monochrome in visual art and comparable surfaces that occur in the everyday life of the modern city. These found monochromes of the city are photographed on 35mm colour slides and then presented on a number of formats — analogue or digital slide shows, multi-screen projections, framed prints, pasted photocopies, lightboxes, and books.
To date there are over 6oo images in the series. In particular I was concerned to investigate the relationship between the temporality of colour and that of architecture, as a means better to understand better the fraught relationship between modern architecture and chroma. The project was commissioned by the South Bank Centre, London. It involved the programmed illumination of the two roofs of the Hayward Gallery between October and May Each of the designers chosen were asked to select their favourite dress from one of their own collections.
The description of the very personal reasons behind their choice, together with the inspiration and creative processes that were involved provided the knowledge and contextual framework for the whole exhibition. The exhibition explored the psychological, sociological, and artistic elements involved in design, and gave the viewer access to the personal viewpoint and rarely heard words of each of the designers.
My Favourite Dress represented the first time so many leading names have displayed their work under the same roof and includes such visionaries from Issey Miyake and Alexander McQueen to John Galliano and Oscar de la Renta. The exhibition reconsiders the socio-political text of a nuclear bunker built between and in Konjic, Bosnia and Herzegovina, for Josip Broz Tito, former prime minister of Yugoslavia. On this occasion, one such figure is artist and designer Eric Ravilious.
Along the way she encounters Paul Nash and Enid Marx. Featuring newly commissioned linoleum floor designs, photographs and sculptural works, these installations can be experienced as a gently unfolding environment in which questions of interior and exterior become blurred. Space can be experienced as an image, through a subtly dreamlike journey, at once pastoral and sensual.
Evolving over four weekends in January, visitors were invited to spend time in the space. But there does remain a perceptible on-going sense of slight nausea necessary to prevent acceptance, comfort. The interior underwent four subtle lighting changes, varying each weekend.
Please note A Slight Nausea was de-installed after 26 January, in advance of the talk. Goldsmiths None. The set of posters I made for the show was in response to the idea that it was somehow based around the figure of the singer Michael Jackson. In the main gallery space, a set of objects evoke style and violence, sincerity and rhetoric, in almost equal measure.
For the wall-size Untitled Background Bedwell revisits pour-painting, saddled with the knowledge that even were good faith possible, it would still read as quotation: be destined, like his The Chair of the Painter of the Hole, Booth or Ashtray, despite their devastation, and like anything in any art gallery - to decorate. This adjusted transcription of Painter of the Hole uprooted had the artist blushing, alone in the studio, brush in hand, so gauche did even copied expression feel.
The artist has known Grosz's Hole work since adolescence. It was always a bit embarrassing with its histrionic, comical expressionism: as silly as The Scream, but more vacillating. But it is nagging, compelling work precisely because of this, speaking as it does of Big Themes, war and the impotence of art not Lack, tellingly with such ingenuous, graphic directness.
Why it is that we find so very embarrassing art which, with a touching belief in unmediated communication, presumes to address us in language not safely, expectedly ironised? We treat such attempts at contact as we might pub bores or street beggars, hurrying away sheepishly. Paglia was right to name tragedy a male mode she could have included its suburban cousin melancholy, too : maybe it's an idiocy lying in wait for anyone venturing away from the required visible credential, 'critical distance'.
With artistic possibilities stifled by consumer-led consensus, where to look for a way out of this mannered circumscription? Bedwell seeks in the atmosphere of the forties something useable, which ventures emotion, if only rhetorically and at the cost of comedy - for an artist in his 40s. The intervention, and the print intervention in particular, traces its history back at least to the Cubists and their incorporation of newspaper into their compositions.
The print intervention began to find its footing in earnest as Conceptualists and other artists began to work more innovatively with language and the printed word, and it has only continued to grow in its popularity and usage. The phrase suggests on the one hand a capitulation to the status quo, yet it also implies a decisiveness from which to move forward.
Echoing and 'dirtying' Michael Asher's famous institutional critique gesture of , I wanted to make the gallerist the possible object of a voyeuristic gaze. Cur: Joao Ribas. Exhibition in loft apartment exploring role of artist in urban regeneration. Part of an expanded project tracing parallel trajectories of visual regimes through emerging technologies, the work considers a material future of images by inhabiting the particular history of sprayed concrete. Invented in by pioneering taxidermist Carl E.
Akeley while working on a large display of African elephants at the Chicago Field Museum, Akeley went on to define modern dermoplastics and set the standards of natural habitat dioramas during his time at the American Museum of Natural History New York.
It was during this time that he also invented a novel 35mm motion picture camera which was quickly adopted by filmmakers for field work, including notably Paul Strand and Robert Flaherty. The difficulties she experiences during the reading inadvertantly re-invent the manifesto, generating a new contingent space of the narrated image between crisis and proposal. An accompanying exhibition catalogue was published by Arko Art Center.
Shot on the construction site of a new Bauhaus-themed gated community in China the piece chronicles part of a recent New Town development designed by Albert Speer Jr. Screened in reverse, Weimar Villa Unreconstructed depicts an endless cycle of construction and excavation. The initial documentary nature of the video soon gives way to more ambiguous readings where distinctions between the new and ancient are suspended.
A series of sculptural works in concrete extend the archaeological motif of the video into the gallery. Leaning against the wall are a collection of individual flat panels of varying shapes and sizes. Their ambiguous forms, both hard-edged industrial and petrified organic, at once appear as both pre-cast construction components for some future, unspecified structure and archaeological relics of unknown origin.
A further set of freestanding sculptures entitled Quasicrystal Compass consist of hollow crystalline shapes in concrete precariously supported by modernist Arne Jacobsen tubular chair legs. Over thirty of today's most outstanding emerging and established international artists will be invited to create new work, installations and architectural interventions in a fast paced succession of exhibitions. The project focussed on the Museo as a site of affective engagement with mental illness, drawing on perspectives from human geography, fine art and visual anthropology.
The project explored the methods by which the Museo constructs and re-positions understandings of mental illness by providing an affective engagement with histories and memories of institutionalisation and the phenomenon of mental illness. Wall wounds found and Wall wounds fabricated are two series of photographic images from this project.
Kingston None. As photography and fashion are cultural mediators of both banality and profundity, they undoubtedly shape life in ordinary and superb ways, and present spectacles from the common through to the awe-inspiring. The works that are being exhibited will demonstrate how fashion photography can take images of the ordinary or authentic, and juxtapose them with flights of fancy or propositions of something new.
Monica Biagioli curator. Sound Proof, a series of yearly exhibitions from to , took the Stratford site of the London Olympics as a point of departure for commissioned artworks with a focus on sound. One year before the site of the Olympics was completed, Sound Proof amplified its reach and extended the dialogue to Barcelona, site of the Olympics in We invited four commissions for the exhibition that year, two based in London and two having links to Barcelona.
The approach that year was to create a conversation between Barcelona and London through the works presented by artists based in those two cities. The co-existing installations formed a type of environmental sculpture; projecting the voices and thinking of the participating artists, and allowing the works to speak to each other through the context of the exhibition.
Jon Fawcett's film commission, Radiance, was the document of an action involving a group of women, creating a network of radiating energy points across London. Overtime - the collaborative work of Barbara Held, Yapci Ramos, and Matt Davis - represented the movement in time from to in a series of 5 photographic pieces and sound works intermixing footage and recordings made in Barcelona and in London.
During my residency I consulted works in the library and archive collection at the Study Center, visited art organisations, met with artists based in Barcelona, and did site visits in relation to development of curatorial approach and theme for Sound Proof 4. Leigh Clarke Squash Block printing ink, squash racquet and ball A bespoke squash court has been built with a surface of block printing ink on its far wall.
As the artist plays squash with himself, the rubber ball bounces on the wall, removes the ink and on it's return leaves a print on the floor before the next swing of the racket. The removal of ink and the new imprint left by the ball, metaphorically communicates Clarke's concerns with the recent replacement of artistic communities in his home town of Hackney, with prospective temporary sporting communities due to the London Olympics.
Fawcett presents a new work, Radiance; a filmic document of the creation of a huge energy network across the capital. Using walkie talkies, Fawcett simultaneously puts a group of women through a hypnotic visualisation, and the group, dispersed to specific locations across the city, create between them a system of interconnected energy transmitters. Their activities are filmed, simultaneously with the action and using telephoto lenses, and the footage captured forms the final film work.
Chrome cassette tapes edition of , essay thermo-bound with acetate cover Ligeti's work serves as the backdrop for an essay a free-form analysis of the composition , and a collection of sound snippets, presented in the show as a limited edition chrome cassette tape recorded in collaboration with the Scottish artist Stephen Sharp.
The energy and optimism of Barcelona during the Olympic games is contained for me in one joyful, almost photographic memory. Our personal and professional connections to each other branch out from that time, a legacy of excellence of artistic practice, emotion, memory and friendship. A series of 5 photographs of Barcelona locations with personal significance interact and become part of the landscape of the construction site of the London Olympic Park.
The soundtrack of our installation recreates the recording of a concert that Matt gave in Barcelona 20 years ago as a score to be interpreted by 5 musicians. Barbara Held barbaraheld. Exhibition multiple: Folio of 6 artist maps and DVD with the six soundworks by the artists for the exhibition, along with a curatorial text in map format. Exhibition multiple: Vinyl record with liner notes in the sleeve and cover.
The curatorial essay appears on the liner notes along with information about the soundworks and the artists. The multiple is currently distributed by Art Metropole in Toronto, Canada. Speak Through is a new series of works by London-based artist Monica Biagioli whose current practice comprises installation, as well as works that incorporate text. In Speak Through, Biagioli presents a series of text works that explore the Jungian theory of archetypes, as well as the sculptural installation Before Charge Devil, Dracula , the Child i.
Cinderella, Rapunzel , the Hero i. Archetypes in fairy tales provide structure through their various character types which correspond to individual personalities and thereby allow the reader to connect with the universal themes within the stories. In the Jungian construct, each archetype is a real force charged with specific energy.
In Speak Through, Biagioli works with molten lead to assert the physicality of these psychological entities, as she carves out lettering by hand and pours lead into the moulds to create the text works. Through a play of word association reminiscent of concrete poetry, various archetypes and their related functions and meanings are reconfigured to create compositions in lead. Before Charge is a pipe structure that twists around the entrance with two listening areas that project a different spoken word piece that links the meta-concept of the archetype to its colloquial representation as fairy tale.
One pipe emanates fragmented shreds of archetypes when the viewer moves close to the structure; The Legend of Alderley — a tale with its roots at Alderley Edge just south of Manchester — can be heard in its entirety through the other pipe. Julie Penfold curated the first part of exhibition as part of the B-side Festival in Dorset in September Monica Biagioli curated the creation of a wall piece on the foyer wall of Homerton Library in Hackney in December that is now on permanent display as a legacy of Sound Proof.
Exhibition multiple: newspaper format in an edition of Andrew Bick, school studies, new work and selected works. Dolven, Tal R and Annelies Strba. Bick used the film "Being John Malkovich" as a skewed theme, allowingn unpredictable combinations of artis while functioning as a critique of the narrow, over-defined programming of much current curatorial practise. Blasting the future! The Intractability Of Relationships paintings. This essay was reproduced in the July edition of Mad Hatter, on-line magazine from Argentina, along with the paintings from this exhibition.
Six of the T. Flowers West Santa Monica: solo show. The relationship of the viewer to the painting - as if standing in front of a void or other such metaphysical phenomena, played out through abstract expressionism, is necessarily challenged in this series of paintings. The shapes in these paintings related to each other and existed in the same space. The title is derived from Madrid and London sharing the same Greenwich Meridian.
The Spanish Madrid and British London artists were selected on the basis of their similarity of repute and complementary concerns. Blacklock selected the British artists Noel Forster and Trevor Sutton, on the basis of their contribution to contemporary British abstract painting and their utilisation of formal language within painting. The selection was conditioned by the use of different conventions of pictorial space within the parameters of abstraction.
The artists were selected for their diverse range of artistic practices, which, brought together, created a thought-provoking insight into the contemporary art scene in Britain. From the gallery's website: For I Heart New York, Bolivar fuses personal encounters with New York city filtered through the imagery of paintings from this exhibition. This version is one of five made from Malevich's late 'black squares'.
The term 'Anti-Social Realism', which acts as this exhibitions title, is not one that is commonly understood. It is intended to pose questions such as: is 'revolutionary' art a viable possibility today? What does it mean to be anti social in an increasingly interconnected but physically separated society? In response, this exhibition attempts to pose pictorial possibilities and create tensions through the selected artworks, tackling notions of contemporary realism and in turn offering us a distant echo of a political reality.
The wry misnomer of the exhibition title slips between many interwoven threads, simultaneously conjuring up images of 'anti-social behaviour orders' ASBO , anarchist riots, or the solitary artist locked away from the world attempting to connect on a higher level. In this light, the exhibiting artists are presented as 'social mystics' and it could be said that their work operates by a means of turning inwards to create social radiation.
These details were printed and displayed together to give both a glimpse into the individual artworks, and create a huge collage of images. Bracey presented a detail from a painting called 'Homebase' , oil on board. Craft Emergency is a biennial group exhibition which aims to champion contemporary craft by emerging makers from across the UK and beyond, increasing exposure for their work, and encouraging further professional development opportunities.
This exhibition will consist of large-scale toned silver gelatin prints, accompanied by a reference manual made by the artist. Bryniarska recycles cultural matter. Matter that is manifest in hard copy form. By recycling this outdated pedagogic imagery and secondary textual material, Bryniarska manipulates our qualitative associative impulses towards images and words and the hierarchical shifts, power struggles and cleavages between these two forms of representation.
Just as many of her pieces hover between painting and photography, thus frequently the subject matter of her art proposes a historical vacuum. These enquiries cover the range of human experience from sex to death and, more particularly, what it is for the artist to record such experience.
The reciprocal relationship of art and life, of event and record, is fore-grounded, sometimes with knowing over-emphasis, in an attempt to focus in on the fertile areas that lie between the binary truths of history. As the artist Martin Westwood writes in the catalogue that accompanies this exhibition:. The understated rhetorical mode here is parody and pastiche. Utilizing the distance of the mock-heroic Bryniarska has reproduced, mimicked and woven together complex images of technology, gender, history and death.
The structuring of the piece is defined by a chance-based sound score, divided into three movements, which composes the film in real-time from a repository of thousands of film and sound fragments collected by the artist. As a result, each play through of the piece traces a new pathway through the archive. A fixed media single-screen capture of one movement from the work was screened on 24 February at the Sound and Music in Documentary film symposium at the University of Huddersfield.
Tactus No. Commissioned by Crafts Council UK and developed as part of a Leverhulme Artist Residency at the Printworks Trust An investigation into direct communicative artworks for the blind and visual impaired. The textile based scores are tactile sound generating surfaces that celebrate the braille music notation system of Louis Braille and the graphic scores of Cornelius Cardew. Each score is composed of numerous cells of braille and haptic notations that form an overall composition. These cells can be explored by touch using capacitive sense technology , with the tactile and textural patterns varying based upon the sound material they represent.
The composition does not operate under any particular time signature or linear arrangement allowing for a dynamic recombination of rhythmic and harmonic score material and a flexibility in exploration by touch. The sound material heard within the composition is derived from studio recordings of scored material composed for the tactile score.
When a certain patterning of the tactile score is touched, related sound patterns are triggered from the sound score and heard back instantly across a spatial array of twenty speakers embedded behind the score.
Longplayer Day is inspired by Longplayer and the philosophy, interests and aims behind it. Its curated programme of new commissions, performances, talks, screenings and workshops explores time and duration, and seeks to inspire audiences into new thought on long-term behaviours, environmental awareness and durational thinking. This method of resonating, of listening to the space in order to return sound back to it, runs through all the compositions whether working solo or with the guests in the project, who are Finn Andrews, James Bulley and Daniel Jones, Marcia Farquhar, Pete Fraser, Maggie Pittard, PA Skantze, and The International Western.
This notated score defines a series of vocal performances by Ella Finer within the unique spaces of Galerie8, which are recorded to produce the finished work: a sounding and re-sounding of both the interior and exterior acoustic architecture of the building. Each day, the work begins afresh with a blank score, searching through the vast body of text and sound material posted online across the day, progressively composing a voice-led score that reflects and portrays our day-to-day concerns.
Vespers is a secular evensong written for performance at dusk — a period of collective introspection on the day. Throughout the day, a number of invisible software agents search the web for new material - fragments of conversations within online communities, comments from forums, audio uploads to social media sites - mapping the nation's thoughts, ideas and concerns. Vespers references the ecclesiastical practice of evensong, a service of evening psalms that serves as a space for communal contemplation and reflection at dusk.
Friday 21 September — Thursday 27 September Supported by Goldsmiths Sound Practice Research. Davies took the name Shozyg from the final book of an encyclopaedia from Shoal to Zygote , and it is this anthological notion that we wish to portray within this exhibition. With this approach in mind, we seek to explore the rich tapestry of sound practice at Goldsmiths, both past and present, tracing lines through from the late s to the present day.
Selected works from over 50 artists are included, encompassing a broad range of practice: from acoustic ecology to generative musics, and from vocal utterance to audiovisual composition. Experimental sound practice and sound art are comparatively new and thriving fields, operating within a historically visually dominated art world. It is our hope that through this showcase we can allow the audience a space to listen: a platform for auditory exploration and new aesthetic experience.
Alongside these exhibitions, we were privileged to host From Recent Projects, a solo exhibition by sound and visual artist Lawrence Upton Honorary Research Fellow at Goldsmiths. To coincide with the exhibition a newsprint publication was also produced based on the project so far, with the pages of the publication forming the basis for the display on the wall, allowing visitors in effect to take the exhibition away with them.
First published as a book in March , Metropole received international attention and rapidly sold out. A reprint of the book has been made to accompany the exhibition and is available online and from the Whitechapel Gallery bookshop for the duration of the exhibition. Located at the heart of Whitechapel, an area experiencing dramatic change of the sort depicted in Metropole, this exhibition was an opportunity to continue my interest in displaying work in locations which are being directly impacted by the same issues and processes that my photographs depict.
Displayed alongside pieces by these artists and photographers are projects by groups of UAL students who worked reactively to produce new work on the theme of art and journalism. These projects included a reactive photograph which dynamically responds to viewer comments, an animation about insect drones and a large scale display of slides from the Snowden archive of leaked NSA documents.
The display featured spreads from the book as well as garments and ephemera curated by the author to illustrate the timeless appeal of maritime style. For more than 30 years, Artspace has existed as an alternative space dedicated to the presentation of contemporary and experimental art in a critical context. The multifaceted exhibition at Artspace is conceptualised as an infinity loop, which branches out in two directions linked through a central space near the entrance to the gallery.
Here visitors are presented with two adjacent doors that offer different access points to the exhibition, and through which one must return to complete the picture. A door that closes in one direction opens in another. Here and Now, Present but not Concrete. He is at home when he is not working, and not at home when he is working. Manuscripts, Persons and Things, Parts A studio might look something like this.
Parts in process, some parts more complete than others, some more closely interrelated than others, some repeating familiar patterns and others digressing or attempting something new. Some things in pre-stages, some things on the way to becoming material, solidifying, and others enjoying the state of being perpetually pre-material.
Some things suggesting actions, some things anticipating actions, some things recording actions, some things almost acting, some acting badly, some obviously acting, and some pretending to act. The body is a work tool. The body is a pleasure instrument. The body is the object or site which measures the power exercised by some over others.
The Body is apparently an other-thing to be modeled, honed, shaped, trained, controlled, monitored, regulated, optimized, made work-ready, performance-improved. Peter Sloterdijk has recently said that our time is an era of Exercise, whereas the last century was a time of Production. Exercise is training and practicing, and is a process of optimizing.
That is unless we think of the body as the outcome, or product. Quasi-professional exercise culture is omnipresent. Exercise time can be found anywhere anytime, just like contemporary work-time. Here things are not necessarily either animate or inanimate, but rather amalgamations, appearances and propositions. While in some cases a body might be present physically, in others it rather exists as an idea, an allusion. A studio or workroom which is made accessible to all comers, where artistic or creative work can be viewed and created collaboratively.
An Open Studio is intended to foster creativity and encourage experimentation in an atmosphere of cultural exchange, conversation, encouragement, and freedom of expression. In the 21st Century, the Open Studio often taking the form of a virtual or web location focuses on the creative act of making and sharing, in a flexible space equipped with a range of contemporary media and multimedia.
Artists and non-artists come together in a social act of collaboration, the only entry requirements being an inquisitive nature, a curiosity about new and traditional media, and a lack of inhibition about creating in a semi-public space. Is this some form of micro-relationship? How might this moment of simultaneously affecting and being affected by -both equally active states- be recorded and amplified? Minute but nevertheless tangible and vital forms of affect may be unsolicited, involuntary — perhaps this is a form of disinterested or passive affect?
This need arises out of a more general demand for our i. Do those relationship generate capital or exchangeable data, and can that data be monetarized? When people are consumers are encouraged to recognise themselves as consumers who should present themselves as products, who really benefits from all that productivity?
The attraction lies in its potential to offer rest, down-time, but also a space for undetermined speculation, a space for potential itself. It might well be that in some cases being passive, refusing to act, constitutes, conversely, a form of activity, and vice versa. When tireless activity, self-exploitative working patterns, and the constant assertion of our own subject-hood might seem to define our contemporary landscape, then recognising passivity as vital, generating spaces for passivity, and choosing when or how to adopt a passive position might be increasingly necessary.
The effects of excessively competitive and self-exploitative patterns of work arguably take root in the body. Immaterial or cognitive labour materializes, if anywhere, in or on the body, e. I want to consider the ways in which these areas might be co-dependent. The resulting exhibition includes artists whose work suggests or subverts a practical purpose, alongside interventions into the infrastructure of the Bluecoat by publishing collectives and designers.
RESOURCE also features working methods which highlight both what we might learn from each other and how we can work within an economy of means. Taken as a whole, the exhibition extends its enquiry into use and usefulness to its own surroundings, questioning the nature, but also future possibilities of arts centres. Is their value based solely on what is presented publicly or what is also produced behind the scenes?
What new resources should a 21st century arts venue offer to remain useful to the public which they serve? The artistic and civic functions of an arts centre will be considered through related talks, workshops and other events over the summer.
Ben Cain's Group Work 3 was used as the p. Intrinsic to such an expanded, holarchic practice is a complete refusal to accept the given parameters of consensus reality. This refusal extends through anarchist deconditioning philosophies and into transcendental psychic spaces. Camplin presupposes that the ways our minds can function and connect are not limited to the web of constructed systems that work to establish the normative presumptive limits of human reality.
She believes that the human mind is capable of much more than we are conditioned to accept, and that there has historically been an interest in keeping our minds from expanding. Like her description implies, the work offers a space that seems to oscillate between a work of fiction and the offering of an actual premonition, though not one with an insistent or pointed agenda. In this case the drama speculatively posits far-future Jamaica as a key time-space vector that might assist in the evasion of neuro-mechanical and cybernetic systems of control.
Visually reminiscent of enlarged text book graphics, but with coded fragments of pictographic material that are pulled from metaphysical or even mystical symbolic sources, the black-and-white diagrams are not decipherable in the way that educational graphics are designed to illustrate factual authority. Instead, the graphics allow for associative and instinctive connections. Rather than producing the panels as simple pictorial information, Camplin designed an installation of geometric shaped wood panels that float throughout the space.
The panels are painted white and directly printed upon in black ink giving them a surface quality more rich and complex than if printed on paper or vinyl and mounted. The viewing experience within the clean black-and-white space feels like entering an illustration of an astral projection, perhaps from the mind of a theoretical physicist or a perhaps from the mind of a precognitive pycho-physician or perhaps from the mind of an artist.
Here I met a Utah cowboy, West Taylor, and his horse and I shot a film exploring their relationship and the vast performative landscape that surrounds them. Lay Down asks how power is constructed and understood through the iconic figure of the American cowboy, the influence of the sublime landscape and the authority of the screen.
Lay Down was a video sculpture with continual performance. Its materials list included 29sqm cast rubber sheet, steel, surround sound, video and live performance. She was also invited to undertake a 2 month residency at Matt's Gallery prior to the exhibition. In this manner, Looking at Others, the artists reveal, sometimes brutally, the darkened places of the world in which we live — of cultural racism, the heartless rules of the marketplace, contemporary forms of neo-colonialism, the mediaisation of reality as embodied by the culture of the reality show, and will at the same time attempt to let us know that art can sometimes be of assistance in the mastering of socially caused traumas by its introduction of the ethics of responsibility.
We pleased to present Artefacts, a group exhibition looking at different ways that contemporary artists use antique objects and historical sources in their work. Claire Partington's earthenware figures use historical sources in several ways. On a technical level, they are made much in the same way as old Delftware and carry numerous other nods to the history of British ceramics. In her imagery too, Claire takes her subjects from 17th century aristocratic portraits or saintly images from the Northern Renaissance which she then reinvents as, for example, the Venuses of Lewisham and Kilburn.
This process of forcing together seemingly incongruous references is also a historical reference, as it updates the practice of appropriation common amongst the Georgians and Victorians when adapting exotic goods to British tastes. In Claire's work, she broadens the scope and humour of the references, and in the process creates artworks that lend even the most contemporary of imagery a sense of historical continuity.
Henrijs Preiss uses a mass of artefacts as the basis for his paintings. He scours artistic output from across the world and over the centuries to identify the motifs, colour schemes and compositions that appear consistently regardless of the context. These he abstracts down to a set of essentials, creating a library of visual archetypes. He then uses formal structures from old icon paintings and from architecture as a framework for recombining these elements.
The surfaces of his paintings are weathered to to give them the feel of timeless old objects, but in a way that is also reminiscent of the everyday decay of the urban environment. Through this Henrijs creates objects that are both contemporary and ancient in their feel, and that tap into the hidden mechanics underpinning all forms of visual creativity. Tom Cardwell's paintings look at the how the perception of objects shifts over time, despite their form remaining the same.
He takes the images of things that may once have had a use, but that through the passage of time have become re-evaluated under different criteria. Suits of armour, for example, which were initally used to protect and display masculine power but then became the quintessential decorative object for a grand house; or the model of a 17th century Dutch warship, an intricate expression of power that turned into a static hobbyist's symbol of nostalgic memory.
Tom's paintings are about how these useful items and their values become over time recast into motifs and archetypes; essentially, about how objects become artefacts. Dilka Bear's paintings spring from the current of pop surrealism, where there is a strong tradition of referencing historical objects and styles to create a sense of otherness, a feeling of escapism and sometimes an undercurrent of the macabre.
In Dilka's work this stylisitic hybridisation creates an imaginary space that is neither past nor present, but rather a surreal elsewhere, within which her works create an emotional resonance unlimited by the restraint of realism. In this way artefacts and their associations are used as a means of sparking the imagination, a kind of catalyst for the oblique narrative of her paintings to spring to life.
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