Thursday, July 15, 2010

Darren Banks: "The Dictionary of Received Ideas" 16 curators from Goldsmiths College at Q, London

Darren Banks
The Dictionary of Received Ideas

5-8 Lower John Street,
15 - 18 July 2010
11:00am - 5:00pm

Private View: Thursday 15 July 6:00 - 9:00pm

Molly Bretton - Joey Holder | Zoe Charaktinou - Nicolas Vass | Caryn Coleman - Darren Banks | Matteo Consonni - Candida Powell-Williams. Kianoosh Motallebi, Elisabetta Alazraki | Bridget Donlon - Charlotte Warne Thomas | Patrick Gibson - Garrett Phelan | Hannah Gruy - Eloise Hawser | Oliver Martinez Kandt - Ben Cain,   Michael Dean,   Bradley Pitts | Thom O'nions | Matteo Pollini - Koki Tanaka | Pavel S. Py - Tymek Borowski | Bérénice Saliou - Guillaume Soulatges & Nadia Agnolet | Erica Shiozaki - James Wright | Ana Luiza Teixeira de Freitas - Elena Damiani | Ming-Jiun Tsai - Johann Arens | Dan Wang - Jasmine Cheng

The Dictionary of Received Ideas celebrates the independent and diverse practices of the Goldsmiths College MFA Curating Programme. The exhibition has abandoned an overarching thematic agenda to encourage an array of curatorial approaches and ideas. For four days, Q will host a series of individual projects between curator and artist, performances, and talks. An appropriate venue for The Dictionary of Received Ideas, Q's interior as a former antiquarian bookshop has engaged participants to respond uniquely to the site.
Taking its title from Gustave Flaubert's satirical text The Dictionary of Received Ideas, the exhibition highlights artistic oppositions and establishes a narrative between these explorations.  Working against uniformity, the project takes on the ironical clichés of what group exhibition making can be. The Dictionary of Received Ideas intermixes a variety of mediums - painting, drawing, installation, video, and sculpture. This collusion of objects and ideas is an intentionally messy manner in which to understand that each curator and artist produces work that is distinctly their own.
UK artist Darren Banks incorporates found and made film footage into sculpture and installation to explore his ideas about horror, the domestic, science fiction, defunct technologies, creation, and the unknown. He conflates high and low culture exploring his own perception of sculpture and its relation to film and memory. By appropriating iconic images of sculpture through the history of film and re-presenting them as his own work, Banks restructures filmic images and adds to his existing sculptural language. He establishes a dialogical relationship with these previous films through appropriation and montage. His folding of the past into the present is a strong example of how some contemporary artists are building upon the legacy of horror and creating new artistic narratives with the genre.

The Palace Collection consists of eleven VHS horror videos from the Palace Picture Distribution and Production Company, a company established in London, England (circa 1982) as a distributor for cult cinema and international art films. This installation negotiates collective horror history, effects of new technology, and ideas of the collection. It is also powerfully aesthetic. Also on view will be Palace Video, a 6-minute video where the opening credit sequence by Palace Pictures has been manipulated into a pulsing visual collage.

Darren Banks
Palace Collection (Detail) 2010
Courtesy of the artist and Workplace Gallery