Hugo Canoilas, Endless Killing, 2008, Installation view: Huarte Contemporary Art Centre, Spain, Curated by Chus Martinez,
MORTE SEM FIM
Curatorship: Emília Tavares
Morte sem fim is the first public event of the Under the Volcano project that will be presented by Hugo Canoilas at the National Museum of Contemporary Art – Chiado Museum (MNAC-MC) for the 2nd Edition of MNAC/SONAE Art Cycles to take place from November 18, 2016 (opening) to March 26, 2017.
On Saturday, July 16, Endless Killing (2008), a 100 metre panoramic painting made by Canoilas for Centro de Arte Contemporaneo Huarte in 2008 will be installed at a disused quarry located 500 metres from the centre of Negrais, a town on the outskirts of Lisbon. This special installation invites the public to visit the location and film set during the filming of parts of the films that will be presented in November. This event is also a chance to see all 100 metres of the Endless Killing painting.
This imposing work attempts a history of violence constructed through the history of painting. Taken out of the context for which it was produced, by being presented as part of the film set during the Negrais Festival and by incorporating the site and the spectators, the work is subjected to a reformulation of its meaning. This transformation of the work, the event and the public that is partially integrated into the filming also reconfigures the relationship between active and passive spectators, between agents subjected to experience and those that construct it.
Morte sem fim will include a musical element with a concert by Filipe Felizardo and a soundtrack arranged by Sonja. The musical material presented will function as the soundtrack for the film being produced. In keeping with the logic of the Under the Vulcano project, the musical elements operate autonomously while also being a fragment of the overall project.
Morte sem fim, as an autonomous event, will be complemented by the traditional snacks and drinks present at town festivals. These will be served at a caravan displaying the enigmatic sentence “No se puede vivir sin amar,” an element that, just as an invitation to an initiation, will be revealed throughout the process of the project.
Free transportation is available from Lisbon to Negrais and back, however places are limited. Please reserve a seat by Friday, July 15th, before 14:00 by emailing firstname.lastname@example.org or calling 21 3432148
Departure from and arrival to: Rua Capelo 13, Chiado (entrance MNAC – Museu do Chiado)
Departure times from Lisbon: 15h / 16h30 / 18h
Departure times from Negrais: 17h / 19h / 21h
Event location: Yellowstone quarry with access indicated by signage on the main street of Negrais
Jennifer Douglas, Untitled (Painting #10), 2015, Floor paint and carbon paper pigment on canvas, 120 x 150 cm, Courtesy of the artist and Workplace
Paul Merrick, Untitled (Warrior), 2015, Plasterboard, mastic sealant, found image, 63 x 63 cm, Courtesy of the artist and Workplace
Identify your limitations, acknowledge the periphery
Jennifer Douglas, Justin Eagle, Sean Edwards, Ditte Gantriis, Maria de la O Garrido, Lauren Godfrey, Ludovica Gioscia, Felicity Hammond, Holly Hendry, Karin Hueber, Alix Marie, McGilvary / White, Paul Merrick, Lucia Quevedo, Charlie Godet Thomas, Aethan Wills, and Madalina Zaharia.
Wednesday 13 July 2016 - Saturday 10 September 2016
Private View: Tuesday 12 July 6.30 - 9pm. VITRINE, London.
Boundaries, encasement, and entrapment – how does the vitrine mediate the subject or the object? Available for viewing, yet significantly distanced from its spectator the vitrine is often questioned within museums and institutions. By acknowledging the vitrine’s confinements how might one adopt these elements to both activate an artwork and abolish boundaries?
VITRINE, London is delighted to present an ambitious group exhibition with site-speci c works by 18 British and International artists that will look at the notions of limitations, instruction-based practice, and the role of the vitrine within exhibition making. This exhibition will naturally manifest forms of the wunderkammer.
Engaging with the architecture of the space (a 16-metre vitrine enclosed behind glass), artworks have been created in an attempt to push the boundaries of the space in unexpected arrangements commenting on institutional display and ideas of artistic production.
Instructions and limitations act as a catalyst for this ambitious exhibition, for which artists have been invited by co-curators Alys Williams and Chris Bayley to devise a site-specific artwork that inhabits the restrictions and potential of the gallery space. Accepting chance in the realisation of an artwork, the exhibition looks at the ties among artists, artworks, the exhibition and its curators.
The project was first initiated via an email instructing artists to produce a site-specific artwork that inhabits the limitations of the gallery space with one ‘rule’: Works must be restricted to sit within the vitrine, utilising any elements of the space you wish, be it the floor, the ceiling, the lighting, the walls or the windows... The exhibition explicitly employs notions of chance and its outcomes are determined by a procedure that cannot be predicted, pushing the vitrine to its limits.
VITRINE is focused on artistic experimentation and development; material, process and installation led practice at its core.
Founded in London in 2012, grown from a project space since 2010, VITRINE invites and fosters the development and presentation of new work in spaces in London and Basel, at art fairs internationally and through off-site projects. VITRINE’s spaces on Bermondsey Square, London, and Vogesenplatz, Basel, promote a new model of exhibition-making. Whilst enclosed behind glass, the works extend beyond the gallery boundaries into the surrounding public space. Exhibitions viewable 24/7 and viewing rooms by appointment.
VITRINE commissions SCULPTURE AT a public sculpture programme (Bermondsey Square, since 2014) and presents an array of events and experiences to enhance and support its international programme.
Image: Cath Campbell, Since the Middle Summer's Spring, 2016, Ply, steel, cardboard, paper, model train and track, 350 x 230 x 150 cm (CC0095)
Courtesy of the artist and Workplace Gallery, UK
Since the Middle Summer's Spring
Head of Steam Museum
North Road Station
Darlington DL3 6ST, UK
9July - 4September 2016
Tuesday - Sunday 10-4pm
'Since the Middle Summer's Spring' is a temporary commission for Darlington Head of Steam Museum by artist Cath Campbell.
Known for her interventions within in architecture, architectural models and drawings, Cath presents six small sculptures of railway stations between which a paper schooner travels along a model train track in a slow endless loop.
The work is a response to the Museum Collection, and explores the aesthetic of model architecture, model railways and the museum exhibit to create a dreamlike model world inspired by the epic voyage of a young woman from Southampton to Alexandria in 1858, in the company of the famous engineer Robert Stephenson.
Each sculpture depicts a railway station from a stopping point on their journey including Southampton Central Station, England, Mdina Station, Malta, Algeciras Station, Spain (near Gibraltar), Ramses Central Railway Station, Cairo, Egypt, Algiers Central Train Station, Algeria and Dijon-Ville Train Station, France. The boat is a model of Robert Stephenson's first yacht, Titania.
The work is commissioned for Meeting Point, led by contemporary art specialists Arts&Heritage. Meeting Point takes place at nine museums in the North East and Yorkshire from March to November 2016.
The project is funded by Arts Council England's Museum Resilience Fund.
Workplace Gallery is a contemporary art gallery run by artists.
Based in Gateshead UK, Workplace Gallery represents a portfolio of emerging and established artists through the gallery programme, curatorial projects and international art fairs.