Tuesday, November 28, 2006
We are pleased to present:
The White Night
by Paul Moss & Miles Thurlow
A New Collaborative Installation In the North Tower of Newcastle & Gateshead’s Famous Tyne Bridge
Opening: Thursday 30th November 5 – 9pm
Installation continues from 31st November – 9th December
Thurs – Sat: 5pm – 9pm (Free Admission)
Some words from our sponsors:
NewcastleGateshead’s International Festival of Light
Thurs 30th Nov – Sat 2nd December
Thurs 7th – Sat 9th December
5pm – 9pm
NVA, one of the UK’s leading public art and event producers has been commissioned to curate Glow, NewcastleGatesheads first International Festival of Light in partnership with NewcastleGateshead Initiative. Glow brings a brilliant array of celebrated artists and emerging talent to the city and offers an internationally significant visual arts programme with striking light installations and projection work, alongside popular and innovative community-based commissions. Working with local arts organisations and galleries NVA have invited a broad range of artists and designers to show pieces that will intrigue, amuse and bring warmth and life to the darkest winter night.
The NewcastleGateshead Winter Festival takes place throughout December. One element of the festival, GLOW, which has been curated by environmental arts organisation NVA, will bring a brilliant array of world class lightworks to the city over the first two weekends in December. Celebrating both iconic landmarks as well as hidden and quirky buildings and features, the programme will offer a fascinating glimpse of a stimulating and enchanting world set within familiar landscapes. Working with local arts organisations and galleries, nva, have invited a glittering host of artists and designers working with light to create original illuminations and installations that will intrigue, amuse, and bring warmth and life to the darkest winter night.
The Winter Festival is part of NewcastleGateshead’s world-class programme of events and festivals. The programme is managed by NewcastleGateshead Initiative and supported by Arts Council England, North East, Gateshead Council, Newcastle City Council, Northern Rock Foundation, One NorthEast and TyneWear Partnership.
Tuesday, November 21, 2006
Creative experiments with Lightning and Power
Star & Shadow Cinema, Ouseburn
Open Air Cinema, High Bridge
Preview Thursday 30th November 5-11pm
‘Electrical Activity’ is an exciting programme of classic and experimental film and art, investigating the electrical and cultural power of light. Films will be presented at public ‘Open Air Cinema’ screen in Newcastle’s High Bridge, in the Mobile Cinema caravan, and throughout the Star & Shadow Cinema.
Light is both the form and content of cinema, but rarely do we think about the electricity powering the projector, and its effect on our lives. The films and art works explore many different aspects of electrical power. Electricity occurs ‘naturally’ in the form of lighting and static energy, and is used to create a sense of magic, awe and wonder within film and photography. Water and glass can act as a prism for the projection of light and sequential images. Electrical light is the hallmark of cinema and forms the basis of many film distributors’ graphics. In narrative fiction, electricity is used to create monsters and special powers.
Lenin famously described Communism as Socialism plus electricity, highlighting the role of electrical power in implementing the infrastructure of the communist state. Harnessing electrical energy to create light has completely changed society and human behaviour: from media and information to altering work patterns. Yet we have not necessarily used it wisely, and take its presence for granted as a cultural as well as an energy provider.
On Saturday 2nd December Honor Harger will discuss ways in which artists have worked within the electromagnetic spectrum. Elin Wikström will present a proposal for a ‘Power Cut’ conceptualising a moment with no electric power.
For details on individual artworks and films: www.starandshadow.org.uk/ea
The Electrical Activity Programme is part of GLOW, NewcastleGateshead's festival of light: http://www.nva.org.uk/new-projects/glow/
Curated by Ele Carpenter with Natalie Frost and Flora Whiteley and the Star & Shadow Cinema. The Open Air Cinema is curated by the Star & Shadow Cinema and organised in association with Waygood Gallery and Studios. The Star & Shadow is supported by Arts Council England, and Newcastle City Council and the Ouseburn Development Trust.
Saturday, November 18, 2006
THE CITY IS OURS?
Wednesday 22nd November, 7-8pm
George Scott Barber Shop, The Side, Newcastle upon Tyne, NE1 1PR
THE CITY IS OURS? is the first in a series of three events, which explore Newcastle’s heritage and treasures by considering their connection to 'alternative' aspects and social networks of the city.
Over the past 10 years, the urban fabric of Newcastle/Gateshead has undergone radical changes. As a consequence of these transformations, our relationship to the city has also altered and adapted.
This introductory event brings together key people from within the city who influence and manage the changing landscape and cultural climate; from the regeneration of our surroundings and the commissioning public art, to the collection of artwork and programming for galleries/museums. Through informal discussion, it will examine issues of ‘public-ness’ and question how these activities shape the identity of both the place and its people.
Panel members include;
Elisabetta Fabrizi, Curator, Baltic Centre for Contemporary Art, Gateshead
Julie Milne, Curator, Laing Gallery, Newcastle upon Tyne
Matthew Lennon, Public Arts Officer, Newcastle City Council
Paul Rubenstein, Director of Policy and Assistant Chief Executive, Newcastle City Council
Peter Rogers, PhD graduate of Newcastle University, and currently Research Associate at the School of Environment and Development, Manchester Metropolitan University, whose interests focus on urban and cultural sociology
The evening will be punctuated with light entertainment provided by the Abacus Barbershop Quartet, and refreshments will be available.
The event is FREE, but due to limited capacity booking is strongly advised. To reserve a place or find out more please email firstname.lastname@example.org
This event has been organised by Matt Stokes in association with the BBC2 series by Simon Schama, 'The Power of Art'. It is one of ten ‘Art-Tripper’ commissions taking place in cities across the UK, funded and coordinated by Arts Council England.
Coming soon …
A 1000 Days in Sodom
Metal music culture and the paintings of John Martin
Wednesday 29th November, 7-8pm
Pre-Raphaelite Room, Laing Art Gallery, New Bridge Street, Newcastle Upon Tyne, NE1 8AG
The High Seas
Maritime heritage and surfing the Northeast coast
Thursday 14th December, 7-8pm
Trinity House, Broad Chare, Newcastle upon Tyne, UK, NE1 3DQ
Both forthcoming events are also FREE, but booking is advised. To find out more or to reserve a place please email email@example.com
Friday, November 17, 2006
An Exhibition of work by artists who currently extend their practice by running organisations, curating, designing and writing.
Curated by Paul Moss
17th November - 17th December
Wed - Sun, 12.30 - 4.30. Late Night Thurs untill 6pm
Art Gene, Bath St, Barrow in Furness, Cumbria
Monday, November 06, 2006
4th November – 2nd December 2006
Thurs - Sat, 12 -5pm (or by appointment)
Preview: Friday 3rd November, 6 - 9pm
Workplace Gallery are pleased to present 1,2,3,4 a group exhibition of new and existing works by four artists currently living and working in Glasgow: Maurice Doherty, Mick Peter, Owen Piper, and David Sherry.
Maurice Doherty's art employs a variety of techniques - lens based, sculptural and two dimensional. For 1,2,3,4 Doherty will be presenting artworks from a new series titled 'Readymaids'. Creating a playful idiom, Doherty calls to mind early twentieth century avant-garde terminology and processes. In contrast to the iconic pieces of early modernism, aesthetic delectation is central to Doherty's latest works.
Mick Peter’s sculpture is highly improbable: simultaneously vulgar and breezily complicated. The objects interweave familiarity with oddity; the conceptually ludicrous and aesthetically irresponsible begins to reveal bits of brutalist architecture or clunky public sculpture. For Workplace Gallery he has made an improvised structure that uses motifs from recent works with added ‘sculpturistic’ sculpture in the form of casts of jugs and teapots.
Owen Piper often constructs replicas of existing objects in alternative materials, creating a space where the boundaries between sculpture, furniture and abstract structures are blurred. Usually employing domestic materials Piper alters and amplifies the final construction allowing interplay between scale, subject, and meaning.
David Sherry is interested in the social rules and regulations that fill up every human head to bursting point. For him even walking past a stranger in the street has a number of checks and balances to be acknowledged.
His current work such as ‘Breaking the hug barrier’ looks at commonly accepted social patterns. These works establish frictions that offset normal situations, highlighting how the artist filters actions and near paranoiac social preconditions. Sherry plays with these preconditions in an effort to plunge beneath an accepted normality.
Spanning traditional definitions of art including drawing, painting, performance, sculpture, and video, 1,2,3,4 presents artists working with the most appropriate material to communicate their intentions, rather than any labored attempt to work within a specific genre. All four artists create layers of sophistication, language, and humour. Social norms and aesthetic conventions bear the brunt of their enquiry raising questions about how we engage with the most basic human activities. Combining the familiar with the odd they make work that deliberately doesn’t quite add up and evades conceptual closure.
Since 1997, Doherty has exhibited widely, in Britain, Ireland, Europe and the US. His recent solo exhibitions include Catalyst Arts - Belfast, Tramway - Glasgow and The Floating Series, Kochhannstraße 14b - Berlin. He has also exhibited at AK28 – Stockholm, the Collective Gallery – Edinburgh, Three Walls Gallery – Chicago, and Künstlerhaus Bethanien – Berlin.
Mick Peter’s recent exhibitions include a solo show at Transmission Gallery in Glasgow, Cell Projects, London, Galerie Nomadenoase at Fortescue Avenue, London, and a publication in collaboration with Transmission Gallery is due this winter.
Owen Piper has exhibited at Tramway, Glasgow and Witte de With, Rotterdam, Holland. Recent exhibitions include a solo show at Kaiserpassage 16/21a, Karlsruhe, Germany, Inbox: Glasgow, Centro Nacional de las Artes, Mexico City, and Busco Similar at Collective Gallery, Edinburgh.
David Sherry was shortlisted for ‘Becks Futures’ in 2003. His solo exhibitions include Gallery of Modern Art, Glasgow, Schnittraum, Cologne, Germany, and Collective Gallery, Edinburgh. Group projects include I don’t know my name‚ Tart Contemporary, San Francisco, I’m trying to tell you I love you‚ Kunstraum Kreutzberg, Berlin, and Zenomap at the Venice Biennale, 2003.
For more information about this exhibition or Workplace Gallery please contact: firstname.lastname@example.org
Sunday, September 24, 2006
'Untitled (Sculpture)' Miles Thurlow, 2005, No More Nails Adheshive, Found Chipboard Plinth, Emulsion, Gloss Paint.
Legacies Of Dissolution
10 October - 12 November 2006
85 Spencer Street, Birmingham, B18 6DE, UK
Casey & McAree
The exhibition considers the (interesting) problem of what an individual work is trying to say in the context of a gathering of works, and the further problem of the disparity between the intentions of a thematic gathering and the voices of individual works.
Too often the idea of a group show is to suggest that there are shared interests - that this valiant curatorial effort is a reflection of artistic groundswell. But what if we are trying to enforce a different set of resources back onto individual works, to see how they stand up? And what if these individual works are too belligerently trying to side-step some sense of the markers of interpretation?
Taking the idea of materials and a renegotiation of post-Modernist legacies as the show's starting point, Colony brings together eight artists whose interests lie with questioning some sense of the possibilities and accepted boundaries of art practice.
"All I need is the air that you breathe Part VI" Cath Campbell, 2006, Graphite and Ink on Cutout Paper.
The Jerwood Drawing Prize is the country’s leading award in drawing, and is the largest and longest running annual open exhibition dedicated to drawing in the UK. Established in 1996 as the annual Cheltenham Open Drawing Exhibition and renamed The Jerwood Drawing Prize when the Jerwood Charitable Foundation became the principal sponsor in 2001, this year marks the tenth annual exhibition of the annual open drawing show. In celebration of this, a separate anniversary exhibition, Drawing Breath, will be held at the gallery at wimbledon college of art, 8th September -22nd October 2006.
In the region of 2,300 entries by artists resident or domiciled in the UK were submitted for consideration by the selection panel of The Jerwood Drawing Prize 2006. A shortlist of 43 artists have been selected for the exhibition by Jason Brooks, Artist; Yvonne Crossley, Director of The Drawing Gallery, London; and Paul Thomas, Artist and Co-founder of The Jerwood Drawing Prize. The shortlist includes highly regarded, established artists as well as relative newcomers and students fresh from art school.
Selector, Dr Yvonne Crossley commented: “The Jerwood Drawing Prize has been one of the major instruments in raising the profile of drawing in the UK over the past decade and in its influential wake drawing is now an acknowledged and significant presence in all areas of visual art practice, theory and debate.”
The shortlisted artists will show their nominated drawings in an exhibition at the Jerwood Space, London SE1 from 20th September to 22nd October 2006. The awards will be announced by Marjorie Allthorpe-Guyton, Director of Visual Arts, Arts Council England at 7pm on Tuesday 19th September 2006. The exhibition will then tour in the UK, to galleries in Cheltenham, Birmingham, Bury St Edmunds, Durham and Cardiff.
Roanne Dods, Director of the Jerwood Charitable Foundation, commented: 'It is a great privilege for the Jerwood Charitable Foundation to be able to support and be associated with this prize which celebrates and demonstrates the quality and imagination of artists working within the discipline of drawing in the UK'
The 43 Artists shortlisted for the Jerwood Drawing Prize 2006 are:
Bermingham & Robinson
Thursday, September 14, 2006
Curated by Milton Keynes Gallery transfer will be constructed between 25th of September and 15th of October 2006 at Station Square, Central Milton Keynes.
During a three week period a group of builders from R.Bau aided by students from Milton Keynes College will simultaneously construct and deconstruct a full-scale replica of Milton Keynes Gallery. The process is synchronized so that the construction and de-construction is choreographed sequentially: Each sidewall is built once at a time, so that the structure slowly moves around until transfer is completed. Over the duration of the project, the complete shell of Milton Keynes Gallery, 9 m high and 18x18 m wide, will materialise although never in its entirety.
Friday, September 08, 2006
Street: Behind The Cliché
Witte de With, Rotterdam
September 9, 2006 - November 19, 2006
Witte de With is pleased to present the thematic group exhibition Street: behind the cliché. Open from 9 September until 19 November 2006, it features work in a range of media by 28 international artists.
Opening 8 Sept. 2006, 6 p.m., in conjunction with De Appel (Amsterdam).
What – and who – fills the socio-cultural space of our day-to-day surroundings? Nowadays it is rare to encounter critical reflections on aesthetic representation that do not involve the concept of ‘space’. Especially in the Netherlands, where the notion of ‘public space’ is a perennially popular topic of discussion, the time is ripe for a reconsideration of how public space operates. As part of Witte de With’s ongoing self-examination, we seek with this exhibition to explore the institution’s complex and problematic position in relation to ‘the street’.
Transcending purely local situations, Street: behind the cliché investigates the public spaces of supermodernity – as defined by Marc Augé – presenting artists whose works embody alternatives to the anonymity of the globalized world and render visible the underlying structures and mechanisms of public space. For example, Martin Boyce’s installations dissociate street furniture from its usual context, presenting distorted bins or gleaming fences as theatrical props; Laura Horelli carries out a subjective analysis of post-Soviet public space; Tobias Buche and Sascha Hahn intertwine personal history with media images and historical references to create poetic documentaries in differing forms; David Blandy carries out a very personal quest to establish his own identity within the media-hyped stereotypes of hip-hop culture; and Gareth Moore will spend a month in Rotterdam, creating a site specific work in the building from materials and ideas found in the city.
Rather than presenting ‘the street’ as the infrastructure through which people move from A to B, the exhibition considers this particular section of ‘public space’ rather as a local theater, a stage on which the complex stratification of cultural codes is acted out and identity is formed. Street is an analysis of the interrelated phenomena that we encounter in our immediate surroundings, such as the fraught relationship between pop culture and subcultural identity, how ‘underground’ is now big business.
Following the exhibition, a publication will provide a platform from which to further explore the ideas proposed by the show. The writers will have the chance to visit the exhibition and incorporate an analysis of the experience in their texts. The book will then be presented in February 2007 on the occasion of the conference The Periphery Complex at Witte de With.
Artists: Joachim Baan (NL), David Blandy (UK), Henning Bohl (DE), Martin Boyce (UK), Tobias Buche (DE), Jason Dodge (US), Marius Engh (NO), Gardar Eide Einarsson (NO), Iain Forsyth & Jane Pollard (UK), Isa Genzken (DE), Pieterjan Ginckels (BE), Sascha Hahn (DE), Laura Horelli (FIN), Pieter Hugo (ZA), Ian Kiaer (UK), Germaine Kruip (NL), Klara Liden (SE), Gareth Moore (CA), Alex Morrison (CA), Chloe Piene (US), Robin Rhode (ZA), Ugo Rondinone (CH), Matt Stokes (UK), Aram Tanis (NL), An Te Liu (CA), Luc Tuymans (BE), Silke Wagner (DE), and Tobias Zielony (DE).
Curators: Renske Janssen and Nicolaus Schafhausen.
Thursday 9 Nov
7:30 p.m. Artist’s talk
Matt Stokes (b. 1973), is a Newcastle-based artist and winner of the 2006 Becks Futures Prize. Interested in popular and particularly music culture, he is best known for his video Long After Tonight (2005) documenting the vibrant nostalgia of a 1960s Northern Soul venue. Stokes will be in conversation with Nicolaus Schafhausen at Witte de With prior to his performance Sacred Selections.
9:00 p.m. Sacred Selections, a pipe organ recital featuring experimental transcriptions of underground music in St. Laurens Church, by Matt Stokes. Grotekerkplein 15, Rotterdam (nearest metro station: Blaak).
Entry € 3.50
The ticket to the performance gives one free entry to Witte de With and an exhibition ticket from Street gives free entry to the performance.
Fine & Fashionable
Saturday 9th September until Sunday 29th April
Fine & Fashionable features one of the world's largest collections of lace. It was put together in the 19th century by the father and son, Anthony and Arthur Blackborne, master lace dealers. Trading from premises in South Audley Street, London, they sold to the fine and fashionable around the world.
This celebration of lace shows more than 200 pieces from The Blackborne Collection, many never before on public view. The Collection has been generously given to the Museum by descendants of the Blackborne Family.
Presented with work by Vivienne Westwood and by British artist Catherine Bertola, the lace is shown with Fine & Decorative Arts from The Bowes Musuem and from the V&A. A new generation of design is represented by Northumbria University Fashion Marketing Students, University of Sunderland Glass Department and Cleveland Collecge of Art and Design.
For more information go towww.thebowesmuseum.org.uk
"no place, like home"
9 Sept–1 October 2006
The title of the 2006 Beacon project is 'no place, like home' in which the interplay of the possibilities of home being a specific location or a state of mind are explored.
A series of commissioned temporary artworks by Jordan Baseman, Catherine Bertola, Lucy Gibson, Jane Porter, Adele Prince, Jennie Savage and Roy Voss will be at hidden heritage sites in and around Boston, Lincolnshire.
Over the course of the four weekends there will be a programme of performance art by Melissa Bliss, Gitte Bog, Lucy Clout and Lorrice Douglas.
Bridge Farm, Bicker
Responding to the architecture and history of Bridge Farm, Bicker, Bertola will look beyond the immediate appearance of the debris and dust inside this abandoned house. Her interest is in the traces of past lives left behind and what is hidden beneath the surface, identifying and responding to these lost narratives. By subtly intervening in the space her installation in the front room of this house will create the possibility for the construction of other narratives.
Access to the art and sites is through the FREE return Beacon coach excursion which departs from Boston railway station on Saturdays and Sundays at 12.30 pm.
Friday, August 11, 2006
29 JULY – 16 SEPTEMBER
PILLS TO PURGE MELANCHOLY.
Pills to Purge Melancholy sounds like a dubious chemical answer to Victorian depression, but is in fact a fusion of the sacred and the profane in the form of the first solo exhibition by Matt Stokes, winner of this years Beck’s Futures. Stokes’ projects combine anthropological enquiry with a love of underground music genres and communities, encompassing the likes of Northern Soul, pipe organ recitals, and other diverse subcultures.
FREE GUIDED TOURS Saturday 12th, 19th and 26th August, 2pm Collective Gallery
These free informal tours will be lead by gallery staff and act as an accessible and informative introduction to the work. Duration approximately 30 minutes.
SACRED SELECTIONS Thursday 24 August, 7.30pm (approximate duration 90 mins) St Giles’ Cathedral, Royal Mile, Edinburgh, EH1 1RE
An off-site performance in St Giles’ Cathedral of ‘Sacred Selections’, a
pipe organ recital featuring experimental transcriptions of underground
music; Northern Soul, Happy Hardcore and Black Metal. The performance in Edinburgh will offer the unique opportunity to hear the complete repertoire of music in the series for the first time. No need to book - Admission Free
PREMIERE Thursday 24 August, 9 - 10.30 pm Collective Gallery
Premiere screening of artist Matt Stokes' newly commissioned film.
Refreshments are available.
ARTISTS TALK Friday 25 August, 2pm Collective Gallery
Beck’s Futures winner Matt Stokes will be in conversation with the
Collective’s Director Sarah Munro discussing the work on show. No need to book - Admission Free
BOOK LAUNCH February 2007
The launch of Matt Stokes’ first monograph especially commissioned for the Collective in collaboration with Art Editions North.
19 August - 7 October
Give and Take
The stunning scientific artwork of Jo Coupe comes to firstsite later this year.
Having already proved herself capable of creating the very best in art science Jo will bring her installation Give and Take to the leading contemporary art gallery.
Coupe is a master of Heath Robinson fascination. Her works are little miracles of interest that provoke childish enthusiasm and genuine enthralment.
Recent works have included Enough Rope: a work in which a pile of fruit is left to rot on a table.
The fruit is connected to an electric circuit. Coupe makes use of the little known phenomenon of acidic fruit creating an electric current. The fruit create a charge, this in turn powers motors strapped to the table legs. Each motor has a blade that cuts into the table leg.
As the fruit decays it powers the destruction of its support which ultimately crumbles and breaks beneath it.
The work appeared on the front cover of AN magazine when it was exhibited at Baltic last year as part of the group show You Shall Know Our Velocity.
The work at firstsite is entitled Give and Take and follows Coupe’s interest in all things scientific, fascinating and beautiful.
This new presentation of Give and Take sees roses placed in several tanks of metallic – copper - solution. A current passing through the tank means the flowers are slowly electroplated.
This principle – electroplating – is common in the creation of everything from cutlery to coinage. In Give and Take copper pipes are placed in the solution with a positive charge – the roses are placed in with a negative charge. The copper solution begins to settle on the roses which are slowly, and beautifully entombed in a growing accumulation of copper.
Coupe, 31, graduated from the University of Newcastle and obtained her MA last year from Goldsmiths College London. Earlier this year she had a solo exhibition at the Station Gallery Bristol. She has joined group exhibitions throughout the UK.
Friday, August 04, 2006
Darren Banks, Catherine Bertola, Cath Campbell, Peter J Evans and Richard Forster in "The Opposite of Vertigo"
Above: "Big Blob" (Detail) 2006, Darren Banks, Ink on Paper.
The Burren Annual is an annual exhibition of international significance that enables experimentation and innovation in the curation and site-specific exhibition of new work in visual art. This exhibition is made possible by the generous sponsorship of the Bank of Ireland.
In 2006 the Burren Annual has been curated by Locus+, a UK based organisation of international significance that has been described as "one of the foremost agencies for the promotion of public art" by Greg Hilty, Chief Executive of the London Arts Board.
Jon Bewley, of Locus+ said "There is a group of emerging artists in the North East of England who are developing a genuine profile and impact on the art world. This group of young artists who have either decided to stay after college or moved there have become visible in group shows, competitions and public art commissions at home and abroad. In addition these artists have been successfully represented at art fairs in New York,Chicago and Zoo (London).
A sample of this group are Cath Campbell, Richard Forster, Darren Banks, Kevin Mason, Layla Curtis, Catherine Bertola, Graham Dolphin, Peter Evans and Karl Nattress. This exhibition presents a body of work that is mainly abstract drawing and painting. The main principle behind the selection of these works is that they exercise an obsessive quality either through the process of their making or through their aesthetic. In many cases it's both."
The exhibition, which has the sub title 'The Opposite of Vertigo' consists of new work by nine artists from North East England. They are:
Darren Banks; Catherine Bertola; Cath Campbell; Layla Curtis; Graham Dolphin; Peter Evans; Richard Forster; Kevin Mason; Karl Nattress
The exhibition will take place in The Gallery at Burren College of Art, 12th August -22nd September 2006 and will be open 9.30am - 5.30pm Mondays - Fridays. There is no admission charge and all are welcome.
This exhibition has been jointly funded by the Bank of Ireland and Locus+, which is financially supported by the Arts Council England
Above: 'Supernova Moment' 2006, Peter J Evans, Beech Parquet.
(Photo: Wig Worland)
28 July - 12 August
Units Moved is a group exhibition curated by Rich Holland, Iain Borden and Wig Worland. Artists include:
Peter J Evans
Richard Holland (The Side Effects of Urethane)
Toby Shuall (The Side Effects of Urethane)
Units Moved explores re-appropriations of urban space in the work of eleven different artists. Some pieces relate to specific places, such as Toby Paterson’s interpretations of modernist tower blocks and Sam Griffin’s reconstruction of Nazi plans for Jersey, while others explore how we design, draw, write and remember, including new video work by Alex Hartley, and a site-specific installation by Kathy Barber.
The art collective, The Side Effects of Urethane, will be exhibiting two ‘Moving Unit’ sculptures for skateboarders, one new and one used. There will also be new skatable sculptures being installed at the The South Bank Centre, in the Undercroft area. These are being made from solid stone and will be usable / viewable by all as part of this show.
Friday, July 14, 2006
Formal Dining / Summerize: Workplace at Hales Gallery (London), Hales at Workplace Gallery (Gateshead)
Curated by Workplace Gallery, Gateshead
at Hales Gallery, London.
7 Bethnall Green Road
London E1 6LA
20th July 2006, 6 - 8pm
21st July - 25th August 2006
Wed - Sat, 11am - 6pm
(Or by appointment)
Curated by Hales Gallery, London.
at Workplace Gallery, Gateshead.
Hans Op de Beeck
Bob and Roberta Smith
34 Ellison Street
Gateshead, NE8 1AY
27th July 2006, 6-8pm
28th July - 26th August 2006
Thurs - Sat, 12 - 5pm
(Or by appointment)
Selected by Jeremy Deller and Dick Snauwaert
Kate Williams & John Lloyd
8th July - 19th August 2006
Friday, June 30, 2006
Jo Coupe 'eryngium' 2006 Bronze
Repatriating the Ark
Presented by Parabola
at the Museum of Garden History Lambeth Palace Road, London SE1
3 July - 29 October 2006
Private View Thursday 6 July 2006 6 - 9 pm
Rieko Akatsuka, Holly Antrum, Faye Claridge, Jo Coupe, Tessa Farmer, Andrea Gregson, Tania Kovats, Uriel Orlow, Paulette Phillips, Michael Samuels
Repatriating the Ark pays homage to 2006 as the 350th anniversary of the publication of the Musaeum Tradescantianum. A catalogue of the ‘rarities’ contained within the Tradescant Ark, the first public museum in England, the book was written by Tradescant the Younger with help and funding from Elias Ashmole. The tumultuous history of the John Tradescants, father and son gentlemen gardeners, explorers and collectors, who brought an impressive array of new species of flora to Britain from the Americas and Europe, is a tale of appropriation, ownership and authorship. The Cabinet of Curiosities at the heart of the story, comprised of celebrity paraphernalia, anthropological and naturally occurring oddities, passed from the Tradescant family to Elias Ashmole, who established the Ashmolean Museum in Oxford with the Tradescant collection at its ‘core’. Today, the remaining components of the Tradescant Collection, ‘exotic’ or ‘grotesque’ depending on one’s tastes, can be found at the Ashmolean Museum in Oxford, though this international collection has, somewhat fittingly, been re-distributed to several other museums in Britain.
Parabola’s exhibition is multi-layered: it brings pieces of the original Tradescant cabinet from the Ashmolean Museum and the Museum of the History of Science, Oxford, back to Lambeth - after almost 350 years - to be considered by a new audience. Evolving ideas about ownership, identity and authorship will be considered in a critically engaged examination of the nature of collection and procurement.
10 artists working in sculpture, video, drawing and mixed media have been commissioned to investigate past, present and future notions of ownership, collection and assimilation. Performance-based artists Richard Dedomenici and Christian Nold and poet Karen McCarthy, working in collaboration with Parabola and Spread the Word, will also participate in the exhibition. Museological display will mingle with contemporary art production, both in the Museum and in Parabola’s comprehensive catalogue, which will document artworks and artists’ responses, commissioned essays and discussion of the Tradescant collection’s legacy and historical contexts.
Writers commissioned for the catalogue include: Jordan Kaplan, Parabola curator; Dr Arthur MacGregor, Keeper of Antiquities at the Ashmolean Museum, Oxford; Jon Newman, Lambeth Archives; Dr Andrea Phillips, Assistant Director, Goldsmiths MA, Creative Curating; Jennifer Potter, whose historical novel to be published in late 2006 is set to explore the Tradescant/Ashmole relationship; and Dr Peg Rawes, Departmental Tutor at the Bartlett School of Architecture, UCL.
A series of talks, walks and events are also planned for the exhibition. Walks led by artists, writers and historians, events featuring the display and discussion of contemporary collectors’ practices and talks dedicated to the emerging themes of the exhibition are all scheduled, including:
Tuesday 18 July: John Tradescant's Rest
A walk led by Jon Newman retracing John Tradescant The Elder's funeral cortege from the site of his house in South Lambeth Road to his tomb in the grounds of the Museum of Garden History.
Meeting: 12.30pm outside South Lambeth Library, 180 South Lambeth Road, London SW8 - Free, booking essential, see details below - a specially commissioned guidebook will be available funded by RCDT.
Thursday 20 July: Collectors' Evening
Invited collectors will discuss their passion and obsession in an informal presentation.
6.30 to 9pm at the Museum of Garden History - Free, booking essential, see details below
The exhibition and its associated programme have been curated by Danielle Arnaud, Jordan Kaplan and Philip Norman
For more information, bookings and images, please contact Danielle Arnaud on 020 7735 8292 or email@example.com
Parabola is a commissioning and curatorial body dedicated to the production of contemporary art and critical debate. Through its exhibitions, publications and events, Parabola attempts to invigorate dialogues between different groups and disciplines, from architecture and new technologies, to museological practice and the interpretation of histories.
Parabola 123 Kennington Road London SE11 6SF t/f 0207 735 8292 www.parabolatrust.org
Friday, June 16, 2006
Places of Small Truths
Curated by Lorand Hegyi
Produced by Solares Fondazione Culturale
6th July - 1st October 2006
LUOGHI DELLA PICCOLA REALTA'
Pan, Palazzo delle arti di Napoli, 6 Luglio-1 ottobre 2006
a cura di Lóránd Hegyi
Produzione esecutiva: Solares Fondazione Culturale
La metafora del giardino è una categoria poetica, dolce, flessibile, collegata con la complessa attività della micro-narrativa, una categoria facente parte della più ampia «grande narrativa» del filosofo francese francois lyotard; è allora proprio con la realtà della micro-comunicazione, con l'affrontare la problematica dell'organizzazione e della funzionalità della micro comunità sulla base dei valori culturali, etnoculturali, mentali, emozionali, storici che la micro-narrativa manifesta oggi la sola validità umana, la sola reale storia della micro-comunità strutturata e organizzata per le reazioni nell'immediato, anti- gerarchica, dolce.
La flessibilità delle zone di frontiera tra il personale, il privato, l'intimo e il pubblico, il comune, il collettivo, è elemento essenziale del lavoro artistico sui domicili. Le esperienze personali assurgono al livello di interessi comuni e di comuni processi intellettivi ed emozionali. Piccole storie individuali, racconti privati, sono riformulati in qualità di riflessioni sui racconti collettivi. Da un lato, si tratta di una mescolanza sovversiva di diversi ambiti e competenze, dal momento che l'artista mette costantemente in questione la validità e l'applicabilità dei racconti pubblici e collettivi – e in questo senso convenzionali – confrontandoli con i propri racconti privati. Dall'altro, l'artista cerca di far emergere nuovi contesti all'interno dei quali le realtà immediate con le loro micro-strutture individuali e specifiche, organizzate dai significati contestuali, sono percepite più intensamente e sviluppate in maniera sovversiva.
Ricerca cioè dei metodi possibili per rendere più intenso il processo di percezione, per potenziare la formazione di nuovi contesti. La partecipazione, l'empatia, il contatto delle piccole realtà (incluse quelle costituite da ciascun visitatore) riempiono questi domicili.
La mostra GIARDINO - luoghi della piccola realtà è consacrata alla ricerca di luoghi possibili che fungano da terreni specifici per i domicili. Ci confrontiamo con diversi metodi di lavoro che propongono la concezione, la creazione, la messa in atto e l'invenzione dei domicili possibili: Il visitatore è di volta in volta coinvolto all'interno di nuove realtà e, in qualità di osservatore (ri-cercatore) critico, reso straniero e confuso. Nel contesto delle piccole realtà, Outside/Inside, Self/Other, si vanno creando delle zone specifiche, in cui la forza poetica e l'immaginario sovversivo delle nuove relazioni e dei nuovi rapporti generano la relazionalità immanente. Il passaggio delle frontiere, la loro conflittualità intrinseca, le tensioni del posizionamento all'interno o all'esterno si concretizzano nelle prese di posizione più interessanti, più autentiche, più artistiche ed insostiutibili.
GIARDINO - luoghi della piccola realtà riflette su come l'artista prenda in considerazione ciò che può sigificare o evocare il domicilio sia come luogo di residenza in senso giuridico, "casa propria" confortevole o ancora simbolo d'intimità o di una cattività. Al crocevia tra un ambiente condiviso da tutti e un piccolo universo proprio a ciascuno, trenta artisti italiani (tra i quali prestigiosi nomi napoletani) ed internazionali sono invitati a mettere in evidenza diversi tipi di legami – poetici o sociologici – tra gli uomini ed i loro luoghi.
Alcune opere sono capolavori di grandi interpreti dell'arte degli ultimi trent'anni. Altre sono creazioni di artisti più giovani che ben rappresentano lo status attuale dell'espressività contemporanea nel mondo.
Wednesday, May 24, 2006
at STATION (The Former Fireboat Station)
Phoenix Wharf, Redcliffe Quay,
Bristol BS1 6JT (opposit Severnshed Restaurant)
Opening Saturday 27th May 2006 4-8pm
Admission Thursday, Fridays, Saturdays and Sundays 12-6 until 18th June
and by appointment 07833736950
Electroasis is an interdependent network of household appliances. Hairdryers, fans and kettles come to life, creating fluctuations in temperature and humidity in STATION's two small rooms. These rises and falls are logged by a thermohygrograph, a device used in museums to record atmospheric conditions. Over three weeks, this environment will develop in to a dynamic electrical ecosystem, responding to and regulating its own environment.
Jo Coupe studied at Newcastle University and Goldsmiths College and lives and works in Newcastle upon Tyne. Her work tackles the complex relationship between life, death, growth and decay and invades the spheres of the Victorian enthusiast, amateur scientist and jeweller. She works in materials as diverse as chalk, vinegar, fruit and bronze. Her projects have included commissions for Locus + and the Inland Revenue, a residency in Grizedale Forest and, most recently, a group show at BALTIC centre for contemporary art. This year she will be taking part in shows at the Museum of Garden History, London; Firstsite, Colchester and Workplace, Gateshead.
STATION is a unique and temporary Research and Development Context for Art.
F.f.i contact Louise Short 07833736950
Monday, May 22, 2006
DE SIGN : 18 MAY - 8 JUNE 2006
An exhibition presenting the works of seven contemporary artists who explore the complex infrastructure of our built environment, DE SIGN will deconstruct the way architectural language shapes our perception and interaction with space.
DE SIGN brings together: Antti Laitinen, Langlands and Bell, Paul Moss, Paul Schütze and Alex Villar, an international selection of artists whose work investigates the intrinsic relationship between people, architecture and the urban environment. In addition, using the University campus and its distinctive modernist architecture as a stimulus, Rupert Clamp will create new site-specific work for the exhibition.
DE SIGN will transform the gallery into a space which reveals the presence of an entire language encoded within our built environment. It will challenge its users to learn this language while simultaneously proclaiming that they already speak it. It will begin an investigation into the pervasiveness of this linguistic system examining the social, political and personal elements that interact with our architectural environment to create the spaces that surround us.
The exhibition will be complimented by a dynamic events programme for various audiences including school children, university students and adults in the Colchester community.
Curated by: Wen-Chin Chi, Ashlee Gross, Leigh Hazzard and Alex Hugo as part of the MA in Gallery Studies at the University of Essex.
12 May – 17 July 2006
Opening Thursday 11 May 6.30-9pm
‘Daisychain’ is Richard Forster (b.1970, lives Saltburn by Sea, Teeside) and his meticulous, athletic drawings of office interiors, the sea off the Cleveland coast and the Folies Bergeres. Rachel Harrison (b.1966, lives New York) whose objects create an obtuse dialog between pop and minimalism makes a new work with 1980s picture mirrors of beautiful boys . Franz West (b.1947, lives Vienna) selects two messy and animalistic collages. Rudolf Polanszky (b. 1948, lives Vienna) leaps about his studio in a chair made by his friend Franz West for his ‘compression-spring paintings’ and showing in the UK for the first time.
Daisychain was begun by Bruce Haines
Supported by The Austrian Cultural Forum.
With thanks to Gagosian Gallery, London and Duval.
Daisychain begins at MOT Gallery, Unit 54, Regents Studios, 8 Andrews Rd, London E8 4QN tel. +44 (0) 207 923 9561 firstname.lastname@example.org
opening hours: Fri, Sat, Sun 12-5 or by appointment
Bethnal Green Underground, Buses 394, 106, 253, 26, 48, 55, D6, D3, 8
Jerwood Artists Platform
Private View Friday 19th May 2006
20 May – 25 June 2006
Exhibition Open: Friday-Sunday 12noon – 6pm.
Full wheelchair access
Richard Forster’s exhibition, as part of Jerwood Artists Platform’s unique collaboration with Cell Project Space, presents a significant body of new and recent work.
On entering the gallery visitors are confronted by ‘Stack’ (2005), a narrow vertical, piled form of brightly painted resin that totters to almost human height. Presented wall-mounted are selected works from his ‘Love’ series. Mimicking A4 sheets of white paper that have been screwed up into a ball, then re-found and re-flattened, these resin casts reveal discrete triangular forms almost embossed into the crumpled surfaces. The triangles vary their position from one work to another, layering the potential narratives.
The synthetic, candy pinks of ‘Stack’ are carried through to the other spaces. In the main gallery a vast arrangement of patterned and polished stainless steel discs float a few inches off the floor. Sat on top of the discs are abstracted sculptures, reminiscent of stacked chairs, but more obliquely read as temporary homes for an intense string of scribbled lines fabricated in neon tubing.
For the end gallery Forster will create a new arrangement that combines wall and floor based work. The chair motif and neon undergo further mechanisms of abstraction, resulting in a simpler exploration of form and light that still acknowledges the role of the given gallery architecture – a common theme running throughout the artist’s work.
To accompany the exhibition there will be an illustrated catalogue available with text written by Sally O'Reilly.
Richard Forster’s drawings can be seen in ‘Daisychain’, selected by Bruce Haines, 12 May – 16 July at MOT Gallery, Unit 54, Regents Studios, 8 Andrews Road, London E8.