Cecilia Stenbom: "/sLab IN THE CITY" Sunderland, UK

/sLab IN THE CITY

Friday 20 February until Monday 2 March 2009
Launch event: Thursday 19 February at 5pm

The notion of deliberately placing contemporary art in the public realm to incite diversion and surprise for the passerby has the potential to provoke diverse levels of engagement where people do not necessarily expect, or set out to invite, an artistic encounter.

/sLab, Sunderland’s digital media lab presents a blend of emerging and established artists, working in various mediums, whose practices are currently based in the north east region. Art work will be staged in shop window spaces and public sites throughout the central retail area of Sunderland and will feature video, sound and sculptural installations and performance.

Cecilia Stenbom

Cecilia Stenbom is a Swedish artist currently based in the north east who uses her own image to explore notions of identity and relationships in a mediated world. Through the means of a kind of narcissistic projection into fantastical roles she explores the systems inherent in contemporary culture. The artist presents an installation version of The Protocol, a re-staging of an American infomercial (an imitation of a standard US talk show). The original infomercial has been transcribed and entirely re-enacted and is concerned with selling a book about a weight loss cure; a set of guidelines or protocol explaining how to lose weight without any deprivation or exercise. The work is designed to be consumed by the viewer as background noise that can be engaged with at any given moment. The installation will be staged in a shop window location in The Bridges Shopping Centre.

CIRCA’s Sam Watson and Adam Phillips

Sunderland based artists Sam Watson and Adam Phillips’ work attempts to subvert the familiarity of local landscape through creating unexpected occurrences in alternative locations. The Hope I Can’t Stand is a sound installation which radically alters the geography of the city, by transporting the sound of 36,000 Sunderland football fans from the Stadium of Light into the city centre. On the 13th December 2008 Sunderland AFC earned a 4-0 victory over West Bromwich Albion, in the first home fixture without Roy Keane as manager. Watson and Phillips recorded the sounds of the Stadium of Light, a cultural beacon for people of Sunderland, and will be broadcasting them in a stereo reproduction from the Joplings building, the longest surviving retailer in the city. The Hope I Can’t Stand will be presented on 19th February 2009 from 5pm.

CIRCA’s Michael Gardiner

Sunderland based artist Michael Gardiner presents Grafting, a video installation which focuses upon communicating a personal reflection on the nature of returning to Sunderland after a significant absence. The main protagonist of this project is the familiar look and sound of a seagull. After spending time in various places around the world, the artist has been intrigued by how the differences between one city and the next become more tangible through travel and human experience. The sight and sound of the seagull patrolling the city goes largely unnoticed but is given heightened emotional significance to the returning artist. More than a symbol to demonstrate the geographical cliché of Sunderland as British sea-side town, the seagull is an icon to help convey a dramatic sense of returning to one’s roots and home territory. The installation will be staged in HMV window located in The Bridges Shopping Centre.
Michelle Goulder

Michelle Goulder is a north east based artist whose work is influenced by global issues such as hunger, homelessness and lack of basic facilities. Working mainly in sculpture the artist re-builds and transforms pieces of ready-made and unwanted items and by doing so alters their original and recognised functions. Every day the people of Tbilisi wonder if the lights will come on is a sculptural installation inspired by the artist’s experience of the living conditions of the inhabitants in the city of Tbilisi in Georgia. The labour intensive execution of the wrapping processes the artist has adopted whilst forming the objects, echoes the monotonous and labouring tasks of craftsmen and women in the textiles and manufacturing industries. The installation will be staged in the corner window of Joplings Department Store.

Sophie Beresford

Sophie Beresford is a Sunderland based artist whose practice is concerned with the interlinking factors of culture, spirituality and science; the fusion of these resulting in performance, sculpture, film, painting, drawing and photography. These works are also often ‘designed’ to explode a dynamic for scrutiny, allowing the observer more avenues for perception concerning contemporary social rules and structures. The artist is particularly interested in northern youth culture and her work is fundamentally involved with Makina which is Spanish techno music under the genre umbrella of Rave. Beresford will be presenting Northern Swan, a performance which will respond to a specific track and the particular situation where the work will be delivered. The performance will take place on 19th February after 5pm.

Jennie Brennan & Sarah Rumis of NOVEMBER

Jennie Brennan and Sarah Rumis have founded and are involved in the development of NOVEMBER, an artist’s run initiative located in Monkwearmouth, Sunderland. Their art practices have evolved in parallel, revolving around similar concerns including those of limitation, autonomy, decor and labour. Prow is the first collaboration by Brennan and Rumis resulting from a shared interest in form, substance and territory. Incorporating aspects of pattern, materials and the notion of manual labour, Prow is a new sculptural installation which invites further investigation through the nature of its structure and application of readily available materials. Prow will be staged in a shop window location in Debenhams.

Curated by: Victoria Maddison

/sLab, University of Sunderland, Ashburne House, Ryhope Road, Sunderland, SR2 7EF.
t:0191 5152046 w: www.slab.uk.net e: info@slab.uk.net

Sponsored by Sunderland City Council and supported by the University of Sunderland, The Bridges Shopping Centre, Debenhams, HMV and Joplings Department Store.

Thanks to: Zoe Channing, Alistair Robinson, Sarah King, Nigel Jolly, Peter Belshaw, Andy Pritchard, Richard Hollinshead, Professor Eric Bainbridge, Dr Tim Brennan, Graham Mitchinson, Do Holroyd, Alan Lifton, Graeme Milburn & Sunderland Association Football Club.

image:
Cecilia Stenbom
The Protocol (Installation Version)
2008
HD Video, Photo wallpaper on timer frames, table, 2 x Lights and stands, Flat screen monitor, Box monitor.
400 x 300 x 180 cms (approx) 157.6 x 118.2 x 70.92 inches Film Duration 27 Minutes
CS0053
Courtesy of the artist and Workplace Gallery, UK

Ant Macari: "Rank: Picturing The Social Order 1615-2009" Leeds City Art Gallery, Leeds, UK

Rank: Picturing The Social Order 1615-2009

Leeds City Art Gallery
14 February – 26 April 2009

This fascinating and unusual exhibition, which looks at how artists have
pictured the shape of society from Renaissance times to the present, opens its
UK tour at Leeds Art Gallery. A society without stratification is barely
imaginable, but how do we picture our own system of hierarchies, of
difference? British writers, political theorists and artists have used numerous
images to picture ‘who we are’: describing us through ‘orders’, ‘estates’,
‘classes’, ‘stations’, ‘degrees’, or ‘ranks’. But only this latter term has kept the
same meaning over six centuries. With over 100 exhibits, new work from
leading contemporary artists and the presentation of new social research from
academics and government agencies, the exhibition will include loans from
Thomas Hobbes, Leviathan,
1651, British Museum

Tate, The British Library, British Museum, Victoria & Albert Museum, Arts Council Collection, Working
Class Movement Library, and the Saatchi Gallery, as well as private collections.
The exhibition is accompanied by a 140pp fully illustrated catalogue with essays by Polly Toynbee;
Professor Keith Wrightson, Yale University; Professor Daniel Dorling, Sheffield University; Dr Gordon

Image details: Abraham Bosse and Thomas Hobbes '1660 print 'Leviathan',
on loan from British Museum
Fyfe, Keele University; and its curator Alistair Robinson from the Northern Gallery for Contemporary
Art, Sunderland

images: Ant Macari 2009
Courtesy of the artist and Workplace Gallery

http://www.leeds.gov.uk/artgallery/Leeds_Art_Gallery/2009_Exhibitions.aspx

Cath Campbell: "Drawings: A-Z" Museu da Cidade, Lisbon, Portugal

Drawings: A-Z
5th February - 29th March 2009

The Colecção Madeira Corporate Services – MCS began to be formed in the second half of 2002, through the initiative of its directors, Rosana Rodrigues, who lives in Funchal, and Luiz Augusto Teixeira de Freitas, a Brazilian collector who resides in Lisbon. For this project, they invited the Brazilian curator Adriano Pedrosa, who was has a great experience with private and corporate collections; he is also the curator of the Colecção Teixeira de Freitas. Pedrosa is an independent curator based in São Paulo, and was the adjunct curator of the XXIV Bienal de São Paulo in 1998, curator at the Museu de Arte da Pampulha in Belo Horizonte, from 2001 to 2003, and is currently a curator at InSite 2005 in San Diego and Tijuana.

The Colecção MCS focuses on contemporary drawing. Drawing has been chosen considering the remarkable reinvigoration it has enjoyed in the past few years in the international production. A number of recent exhibitions and publications testify to the renewed interest in the medium – such as “Drawing Now” (Museum of Modern Art, New York, 2002), “International Paper” (UCLA Hammer Museum, Los Angeles, 2003), “Vitamin D” (Phaidon Press, forthcoming publication). The main focus of Colecção MCS consists of drawings produced over the last ten years by artists born since the sixties, and that is the outline from which the collection and the exhibition may provide a rich and varied panorama. Colecção MCS also develops a second focus, with artists from the 1970s, a group that is still being constructed in the collection and has therefore been excluded from this exhibit. The Colecção MCS concentrates on artists from the Americas and Europe, with a significant number of Brazilians and Portuguese. In this context, the collection includes artists with quite solid careers on the international circuit (such as Francis Alÿs, Maurizio Cattelan, Mona Hatoum, Ilya Kabakov, Guillermo Kuitca, Beatriz Milhazes, Ernesto Neto, Gabriel Orozco and Julião Sarmento), artists whose drawing is a fundamental reference for the contemporary discussion of the medium (such as Franz Ackerman, Joseph Grigley, Julie Mehretu, Dave Muller and Raymond Pettibon), renowned artists whose work in drawing is limited or little known (such as Michael Elmgreen & Ingar Dragset, Olafur Eliasson and Vik Muniz), alongside younger or emerging figures (such as Brian Alfred, Ryoko Aoki, Marcelo Cidade, Paul McDevitt, Gabriel Vormstein and Carla Zaccagnini). The collection takes on a very active strategy of acquisitions, and although it is little over two years old, the Colecção MCS already includes 88 artists and over 200 works. The works in the collection are usually exhibited in the offices of Madeira Corporate Services, in Funchal.

The title of the exhibition, “Drawings: A-Z”, from Abdessemed to Zaccagnini, refers to the truly panoramic view that the exhibition wishes to present to the public. In this sense, a certain glossary of contemporary drawing (necessarily incomplete) is constituted, encompassing multiple trends, genres, aspects and techniques developed by artists all over the world: figurative or abstract drawings, or those using written language; drawings with references to conceptual or processual art; drawings informed by political or feminist issues; related to architecture, to design or to cartography; collages, watercolours, gouaches and Indian ink drawings.

The aim of the exhibition is also to show to the public a unique collection initiative in Portugal carried out by a private company. A catalogue will be published afterwards with a text by Adriano Pedrosa and reproductions of a selection of the most important works in the Collection.

Wolfgang Weileder: "Le Terme e La Sirena", gallery Ciocca Arte Contemporanea, Milan, Italy

Wolfgang Weileder

Le Terme e La Sirena

From 5th February to 9th April 2009

Opening on Thursday 5th of February at 6:30 pm

On Thursday 5th of February the gallery Ciocca Arte Contemporanea will be inaugurating a solo show of the German artist Wolfgang Weileder, with a compilation of black and white and color photographs, that document and summarize his artistic research during the last year.

The show complete the work started with the project Le Terme, a time based site-specific sculpture performed during last October in Piazza Oberdan, and inspired by Diurno Venezia: a derelict 1920's public bathhouse situated directly beneath the square.

The project, simultaneously constructed and de-constructed, was recorded using photographic cameras , strategically positioned around the sculpture. This process produced five black and white photographs, that ultimately reveal the work's production and the only complete view of the replica of Diurno Venezia. Images that are the ghost of the architecture already vanished.

Two color photographs describe this event with a particular technique: the image is composed by thin vertical strips, that are the same part of the same shot, during different moments of the project.

The exhibition also includes four photographs concerning the Slapende Meermin project (that means "sleeping mermaid") realized in Leuven Belgium, and inspired by one of the historical building of the city, name called "mermaid" from the café. The sculpture was a full-scale copy of the façade of this building turned by 90 degrees, appearing like a physic manifestation of the building's shadow.

Wolfgang Weileder's work, both architectural and photographic, explores the borders between temporary and permanent architecture, founding a connection between past, present and future.

http://www.rossanaciocca.it

Laura Lancaster and Rachel Lancaster: "Day after Day after Day" Star & Shadow Cinema, Newcastle, UK

“Day after Day after Day”

Special Preview: 4th February, 7-11pm
5th February - 1st March (open alongside cinema events + Sat 7th February, 11am-6pm)
An exhibition of new work by Laura Lancaster, Rachel Lancaster, Emma McGlaughlin and Flora Whiteley, exploring their preoccupation with collecting and making.
[Exhibition opening with gig/music - bar open, 6pm-end (hallway and bar)

http://www.starandshadow.org.uk/

Marcus Coates: "ALTERMODERN, TATE TRIENNIAL" London, UK

ALTERMODERN: TATE TRIENNIAL
MANIFESTO
POSTMODERNISM IS DEAD

A new modernity is emerging, reconfigured to an age of globalisation – understood in its economic, political and cultural aspects: an altermodern culture

Increased communication, travel and migration are affecting the way we live

Our daily lives consist of journeys in a chaotic and teeming universe

Multiculturalism and identity is being overtaken by creolisation: Artists are now starting from a globalised state of culture

This new universalism is based on translations, subtitling and generalised dubbing

Today’s art explores the bonds that text and image, time and space, weave between themselves

Artists are responding to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expression and communication.

The Tate Triennial 2009 at Tate Britain presents a collective discussion around this premise that postmodernism is coming to an end, and we are experiencing the emergence of a global altermodernity.

Nicolas Bourriaud
Altermodern – Tate Triennial 2009
at Tate Britain
4 February – 26 April 2009

Image:
Marcus Coates
Firebird, Rhebok, Badger and Hare 2008
Photo by Jo Ramirez
Courtesy of the artist and Workplace Gallery

Matt Stokes: "these are the days" Arthouse, Austin, Texas, UK

Matt Stokes

these are the days

January 24 – April 5, 2009

Arthouse
700 Congress Avenue
Austin, TX 78701
(NW corner of 7th Street and Congress Ave.)

these are the days is an exhibition and commission of new work by British artist Matt Stokes inspired by punk rock subcultures—past and present—in Austin, Texas. Stokes is the recipient of the esteemed 2006 Beck’s Futures Prize and these are the days is his first institutional exhibition and first original commission in the United States. The exhibition, which involves a 16mm film production and installation, an original audio recording, and the collection of ephemera related to the punk, post-punk, and DIY movements which has been assembled over a series of trips Stokes made to Austin. The two-channel film installation features footage taken at an Arthouse organized punk show held at the Broken Neck in Austin and a band session recorded at Sweatbox Studios in Austin. The newly created films will be concurrently presented at Project Space 176, a major new contemporary art space located in the Camden section of London – an area strongly connected to growth of the UK punk scene.

image:
photo: Autumn Spadaro
From punk performance at Broken Neck, Austin

Paul Moss: "SUPERABUNDANT" Turner Contemporary, Margate, UK

Superabundant: A Celebration of Pattern

Jacob Dahlgren, Wim Delvoye, Jim Drain, Lesley Halliwell, Paul Moss, Henna Nadeem, Jacqueline Poncelet, Daniel Sturgis, Richard Woods

Turner Contemporary Project Space
Droit House
Saturday 24 January - Sunday 22 March 2009

Superabundant is an exhibition that creates a sense of celebration, of joy and delight through the power of pattern. The exhibition features work by nine artists who make use of pattern and decoration in very different ways, some adopting a systems approach to pattern whilst others are more fluid and organic. For this exhibition, many of the artists have created new and sometimes site specific work especially for the Turner Contemporary Project Space.

The use of decorative designs and patterns has always been central to the fine and applied arts from Roman mosaics and the intricate motifs of Islamic art to the innovative wallpaper and textiles of AWN Pugin and William Morris. In the twentieth century, excessive ornamentation was dismissed as decadent by the Modernist architects and designers of the Bauhaus: decoration for its own sake was replaced by abstraction and truth to materials.

In this exhibition, the tension between decoration and abstraction is explored in Lesley Halliwell's intricate, large-scale Spirograph drawings and Daniel Sturgis' series of paintings with their vocabulary of colour, repetition and pattern.

A number of works play directly with the external and internal surfaces of the Turner Contemporary Project Space, a former department store on Margate High Street: Richard Woods has created a new decorative facade for the building while Jacqui Poncelet installs a forest of pillars covered with a dizzying 'push-me-pull-you' motif. Architectural simulation of a different kind features in Wim Delvoye's photograph of a marble floor created entirely out of salami.

Jacob Dahlgren is fascinated by the surface of things and our everyday encounters with pattern and abstraction, from striped t-shirts photographed on the street to the curves that a stack of coloured plastic cups makes. Heaven is a place on earth is an installation made up of red, white and blue bathroom scales arranged on the floor like an interactive, modernist grid.

Pattern is often associated with feelings of pleasure. Paul Moss' Danger Paintings however, with their disorientating zig-zags of red and white hazard tape, signal an unspecified warning and function as both paintings and architectural screens. These paintings, like many of the works in the exhibition, are complex and labour intensive. Jim Drain's over the top, colourful sculptures made of wool, cloth and other found materials, combine a handmade aesthetic and an interest in non-Western traditions of art making with references to 60's Op art and psychedelia.

Join us this Saturday from 12 noon to mark the opening of the exhibition Superabundant: A Celebration of Pattern at Turner Contemporary Project Space in Margate. Louise Taylor, freelance curator and writer and former director at the Crafts Council will open the exhibition in the Project Space at 12.30pm.

Image:
Paul Moss
Danger Paintings 1-6
2003 - 2006
Non-Adhesive Barrier Tape on Timber Frame
Installation View, Northern Gallery for Contemporary Art, Sunderland, UK
190 x 246 cm (each)
photo: Colin Davison
PMO0029
Courtesy of the artist and Workplace Gallery, UK

Marcus Coates: "LIVING TOGETHER" montehermoso, Vitoria-Gasteiz, Spain

LIVING TOGETHER
Curated by Xabier Arakistain and Emma Dexter
From 23-January to 03-May-2009

montehermoso
C/ Fray Zacarías 2
01001 · Vitoria-Gasteiz
Tel: 945 16 18 30
comunicacion@montehermoso.net

Daniel Baker, Claire Fontaine, Marcus Coates, Gardar Eide Einarsson, Nicole Eisenman, Dora García, Delaine Lebas, Josephine Meckseper, Mai-Thu Perret, Société Réaliste, Paula Trope, Eulàlia Valdosera, Lynette Yiadom-Boakye and Artur Zmijewski.

Through current artistic practices, the exhibition deals with a series of social, political and economic tensions that are characterising the beginning of this century. Invoking the conflicts that bring the broad gamut of social, political and economic groups and subjects into confrontation with one another, the show sets out to question how narratives, among them the narrative of social values, that are informing and regulating the idea of living together in our societies are constructed and negotiated. To this end, the exhibition brings 14 artists together from a variety of contexts, who propose, from different perspectives, multiple and open explorations of these questions, whilst offering a series of contemporary strategies for cohabitation.

image:
Marcus Coates
Dawn Chorus (detail)
2007
(Installation View MANIFESTA7 2008, Trento, Italy)
Duration: 18 Minutes (looped)
MC0015
Courtesy of the artist and Workplace Gallery, UK

Marcus Coates: "The Animal Gaze" Centre for Contemporary Art and The Natural World, Exeter, UK

The Animal Gaze

Artists: Suky Best, Roz Cran, Matilda Downs, Tessa Farmer, Hayden Fowler, Aurelia Mihai, Nicola Oxley, Andrea Roe,
Claire Rousell, Clara S Rueprich, Helen Sears and Miranda Whall.

24 January – 22 March 2009

The Animal Gaze is a contemporary art exhibition that explores the complex relationships between animals and humans. It features the work of over 40 international artists at four exhibition venues in Plymouth; and at CCANW near Exeter.

This exhibition is also part of Darwin200, celebrating the 200th anniversary of the birth of Darwin and marking 150 years since On the Origin of Species was published. Darwin’s concept of the evolution of species through natural selection revolutionised our understanding of nature and our place within it. The city of Plymouth itself has particular relevance since Darwin’s most influential voyage of discovery, onboard the HMS Beagle, set sail from Devonport, Plymouth, on 27 December 1831.

The exhibition’s curator Rosemarie McGoldrick explains: “The Animal Gaze is an exhibition showing how animals currently appear in Western contemporary art. The work has been selected, from a range of national and international artists, for its new approach to animals, taking into account ethics, politics and aesthetics.”

Plymouth Visual Arts Consortium and CCANW have brought this exhibition to the South West and it includes an associated commission by Groundwork UK South West. The Animal Gaze is a London Metropolitan University event organised and curated by Rosemarie McGoldrick.

Other elements of The Animal Gaze exhibition are on show on selected dates between January and May 2009 at Plymouth College of Art; Plymouth City Museum and Art Gallery; Centre for Contemporary Art and the Natural World at Haldon Forest Park, Exeter; and Peninsula Arts Gallery at the Roland Levinsky Gallery, University of Plymouth.

image:
Marcus Coates
Goshawk (Self Portrait)
1999
Archival Inkjet Print
MC0001
Courtesy of the artist and Workplace Gallery, UK

Ginny Reed "In conversation with Ginny Reed and Sally Madge " BALTIC, Gateshead, UK

Thursday 12 February 2009
17.00-17.45 / FREE

Level 2
BALTIC, Gateshead, UK

Following Sally Madge’s Fluxus-inspired performance there will be an opportunity at BALTIC to discuss these Fluxus performances with Ginny Reed and Sally Madge.
To reserve your free place please call 0191 478 1810 or email events@balticmill.com

Ginny Reed "THE DREAM OF FLUXUS" BALTIC, Gateshead, UK

THE DREAM OF FLUXUS
FLUXUS-INSPIRED PERFORMANCES

Thursday 22 January 2009
Performances will take place at regular intervals during gallery hours 10.00-18.00.

To celebrate this historical exhibition BALTIC has commissioned Newcastle-based artists Ginny Reed, Sally Madge and Joel Fisher to perform new works inspired by The Dream of Fluxus. These performances are free to the public and will take place in the galleries during opening hours.
NO BOOKING REQUIRED.

for more info visit:
www.balticmill.com

Image:
Ginny Reed
performance for Make Your Own Damn Art World, MIMA, 2007

Joe Clark: "the voice and nothing more" Slade Research Centre, London, UK

the voice and nothing more

Curated by Sam Belinfante and Neil Luck

the voice and nothing more is a week-long festival exploring the voice as both medium and subject matter in contemporary arts practices. Both established and emerging artists will work with leading vocal performers and composers in an exploration of the voice outside language.

vanm is symptomatic of a growing interest in the voice across arts practices and will give leading practitioners the opportunity to work with some of the most important singers and vocal ensembles in the UK today. Importantly, vanm is the product of a desire to encourage conversations between the contemporary arts communities, conversations that will elucidate art’s complicated relationship with the voice as well as generate new processes and strategies for engaging with it. Instead of merely placing musicians and artists in one space, vanm facilitates an ongoing discourse in and around the voice with the production of new ambitious, collaborative, artworks as well as the formation of new working practices. Artists and performers come together to generate exciting new collaborative works. Invited performers include Mikhail Karikis, Lore Lixembourg and Juice, as well as a specially formed large-scale vocal ensemble.

Performers, working with the artists and resident composer Claudia Molitor, will create new score-objects culminating in a series of new performances. Artists Martin Creed, Simon Faithfull, Dryden Goodwin, Bruce Mclean and Cornelia Parker along with emerging artists Athanasios Argianas, Amy Cunningham, Nick Laessing, Phoebe Unwin and Sarah Kate Wilson are just
some of the 50+ artists taking part.

Athanasios Argianas, Umi Baden-Powell, Sam Belinfante, Melis van den Berg, Fiona Bevan, Sarah Bowker-Jones, Martin John Callanan, Alejandro Cano Casso, Stella Capes, Patricia Chi, Elisabeth S. Clark, Joe Clark, Kitty Clark, Adam de la Cour, Martin Creed, Amy Cunningham, Edward Dorrian, Claire Dorsett, Nisha Duggal, Faith Edwards, Simon Faithfull, Kathryn Faulkner, Penny Florence, Maria Georgoula, Dryden Goodwin, Nick Hornby, Juice, Mikhail Karikis, Hyo Myoung Kim, Nick Laessing, Caroline de Lannoy, Matthew Le Knowles, Sasha Litvintseva, Lore Lixembourg, Leah Lovett, JT Lowen, Neil Luck, Allison Maletz, Janne Malmros, Revati Mann, Bruce Mclean, Claudia Molitor, Sally Morfill, Margarita Myrogianni, Catalina Niculescu, Kjartan Nilsen, Stephanie O’Connor, Benjamin Oliver, Junko Otake, Cornelia Parker, Jayne Parker, Louisa Parker, Bradley Phillip, Tessa Power, Dante Rendle Taylor, Mike Ryder, William Saunders, Kristin Sherman, Simson & Volley, Diana Taylor, Estelle Thompson,
Phoebe Unwin, Caroline Vasquez, Sarah Kate Wilson and Jayne Wilton.

Monday 12 - Friday 16 January 2009

Wednesday 14 January ~ the voice, a lecture by Dr Simon Morris, 12pm
Thursday 15 January ~ show opens at 6pm, performances start at 7pm.
Friday 16 January ~ show opens at 6pm, performances start at 7pm.

Slade Research Centre
University College London
10 - 11 Woburn Square
London
WC1H 0NS

www.thevoiceandnothingmore.com

image:
Joe Clark
Morocco Film Still #11, 2008

Paul Merrick: "Solo Exhibition" Queens Hall Arts Centre, Hexham, UK

Image: Paul Merrick
Untitled (Flamingo), 2008
Gloss Paint on Scrap Aluminium
180 x 170 cms
Courtesy of the artist and Workplace Gallery


Newcastle based artist Paul Merrick shows a selection of sculptures and paintings in Gallery One. Thick oil colour, skimmed and twisted, on aluminium surfaces produces works rich with beauty and form. Paul Merrick is represented by Workplace Gallery, Gateshead

Saturday 10 January to Saturday 7 February
Queen’s Hall Arts Centre,
Beaumont Street, Hexham,
Northumberland, NE46 3LS

GALLERY ONE – FREE ENTRY

Marcus Coates: "Trying To Cope With Things That Aren't Human (Part One)" David Cunningham Projects, San Francisco, USA

Laura Lancaster: "Ego Documents", Kunstmuseum, Bern, Switzerland

Ego Documents. The Autobiographical in Contemporary Art 14 November 2008 - 15 February 2009

List of artists
Darren Almond, Sadie Benning, Louise Bourgeois, Annatina Graf, Mona Hatoum, Xiaoyuan Hu, On Kawara, Martin Kippenberger, Isabelle Krieg, Elke Krystufek, Laura Lancaster, Nicolas Nixon, Jan Peters, Jack Pierson, Anri Sala, Vittorio Santoro, Carolee Schneemann, Annelies Strba, Ana Strika, Pascale Wiedemann/Daniel Mettler.

In her first exhibition in the Museum of Fine Arts Bern, the new curator of the contemporary department, Kathleen Bühler, will be taking as her theme what is autobiographical in contemporary art as an instrument of self-representation and self-discovery. The exhibition will be showing works from the collection of the Museum of Fine Arts Bern and from private collections as well as some works created expressly for the exhibition by young Swiss and international artists.


"Ego Documents" is a collective concept for any kind of autobiographical self-testimony. The autobiography is more than a self-portrait: It is a retrospective and presents the finding of an individual identity in a narrative or documentary process.

In a time in which the borders between public and private, fictitious and real are continually being redefined, the presentation of one's own life can come under fire in the tension between contradictory impulses. Contemporary artists in particular are subject to pressure by the art market to present resumes that are as intriguing as possible.

This exhibition illustrates the fact that although what is autobiographical in art can be a narcissistic reflection of self, it can also be of service in the search for the ego or in the dialogue with transience.

Supported by
Foundation GegenwART, Dr. h.c. Hansjörg Wyss

The Exhibition

Opening
Thursday, November 13, 2008, 18h30

Duration
14.11.2008 - 15.2.2009

Curator
Kathleen Bühler

Opening Hours
Tuesday 10h - 21h
Wednesday to Sunday 10h - 17h
Holidays 24.12.08, 31.12.08, 1.1.09, 2.1.09: 10h - 17h; 25.12.08: closed

Entrance Fee
CHF 14.- / red. CHF 10.-

Francis Gomila and Cecilia Stenbom: "Connecting Principles" Culture Lab, Newcastle University, UK

Connecting Principle: Dialogue is a 2 day public event on Thursday and Friday November 13th and 14th at Newcastle University showcasing work in progress by artists in collaboration with other researchers.

Creative projects will take place throughout the Fine Art Building and Culture Lab, with collaborators from the UK, Germany, Australia and Canada. The event will present 15 diverse activities investigating the dialogue between research methodologies including discussions, performances, installations, transmissions and other works.

http://www.ncl.ac.uk/connectingprinciple/

image:
Cecilia Stenbom
The Protocol
2008
HD Video
Film Duration 27 Minutes (looped)
Courtesy of the artist and Workplace Gallery, UK

Catherine Bertola: "THE INTERTWINING LINE" Cornerhouse, Manchester, UK

THE INTERTWINING LINE
DRAWING AS SUBVERSIVE ART
From Fri 7 November to Sun 11 January 2009

ARTISTS
Catherine Bertola, Rachel Goodyear, Margaret Harrison, Melanie Jackson, Naomi Kashiwagi, Ulrike Lienbacher, Dan Perjovschi, Guto Nobrega, Sissu Tarka
CURATOR
Tereza Kotyk

The Intertwining Line explores early and contemporary animation and its intertwined relationship with contemporary drawing. The exhibition features work by nine artists, including internationally acclaimed artists Dan Perjovschi and Margaret Harrison, a new generation of British artists, such as Melanie Jackson, Rachel Goodyear and Naomi Kashiwagi, alongside screenings of Czech animations and films selected from the Tricky Women festival. Animation is often considered to be childlike entertainment, however the radical potential of the medium has a long history - whether this is the implicit social criticism that is hidden within early Czech animation, or the use of humour to create powerful social commentary in modern artists’ animations. Drawing also has this potential and this can be through meticulously crafted images that merely hint at social unease or speedily drawn sketches which carry a powerful charge of immediacy to create political statements.

"TOMORROW THE FUTURE" curated by WORKPLACE, Fishmarket Gallery, Northampton, UK

Mon 03 Nov 2008 - Sat 22 Nov 2008

The Fishmarket is proud to welcome artists selected by Workplace Gallery in Gateshead for a special group show.

TANYA AXFORD Hula Hoops incessantly in a pitch-black room. Randomly exposed by oversensitive ‘slave’ camera flashes triggered by an intermittently firing strobe she circumnavigates performance, photography and sculpture.

Well known for his eclectic use of material ERIC BAINBRIDGE has spent his career reconsidering modernism. In Untitled 2008 Sausages and Melamine combine to revel in their own redundancy – visually heroic yet utterly futile.

Old TV sets play DARREN BANKS' re-cut videos from found movies in which Public Sculpture and Armageddon emerge as dominant themes for the present.

Christina Is Not Well after a heavy night out In Sunderland in SOPHIE LISA BERESFORD'S film, which inadvertently explores biography, social commentary and visceral sculptural presence to loud effect.

Human presence is the basis of CATHERINE BERTOLA'S archaeologies. In Flights of Fancy she re-inhabits found C19th glass photographs, posing as a middle class Lady in a Victorian interior.

CATH CAMPBELL presents the interior and exterior space of architecture as one through her intricate perspective drawings on paper that move from object to image to object again via her precise cutting away with a scalpel.

HUGO CANOILAS' arrangement of found and painted objects combines figuration, abstraction and political symbolism to resurrect the energy and ideology of the original avant-garde.

JOE CLARK'S film Gateshead Light Sequence features the humble street lamp shifting through degrees of luminescent intensity via an animated sequence of still photographs at night.

In 'Cadences' MARCUS COATES takes the last bars at the end of pastoral symphonies to construct a new audio landscape.

JO COUPE'S centrifugally cast bronze works fuse high precision jewellery techniques with botanical expertise to explore a complex relationship between beauty and decay.

JENNIFER DOUGLAS brings together carefully selected materials to create a discourse between the material world in which the work exists, and the imagined worlds that form the basis for her sculpture.

ASHLEY HIPKIN'S sculptures examine the memory and ethics of function and use through the combination of reconstructed objects from the past cut up, replicated, reformed and painted with the obsolete colours of yesterday.

Like a Polaroid fading into focus the identities of the subjects of LAURA LANCASTER'S paintings are never clear. This state of flux and fluidity allows the works to exist in a temporal, ambiguous space reaffirming the anonymity of the found photographs that she works from.

RACHEL LANCASTER takes photographs of seemingly insignificant passing shots from ‘cult’ films and television programmes. Her paintings from these photographs interrogate the seemingly unimportant moments of a greater narrative - a blurred portrayal of a corridor from Teenwolf or a car bonnet from The Sopranos. Divorced physically from the story her paintings maintain a mysterious connection with ‘the event’ and a cinematic monumentality.

ANT MACARI'S drawings function at once as a schematic, developmental process and constitute the resolution of ideas themselves. Through drawing and writing he communicates a tacit understanding of the culture that has made him.

PAUL MERRICK combines painting with sculpture, and the made with the ready-made. Investigating colour, shape and architectural arrangement whilst consistently referencing back to Painting as a subject and discipline in and of itself.

PAUL MOSS' work responds to the particularity of the urban environment by conflating hand-made processes with manufactured materials to form motifs that reference the information culture that we live in and also pure abstraction and modularity.

GINNY REED'S photographs are residues and remnants of performance events. Party Hard is incidental, monumental and autobiographical in the same moment, finding a new position between documentation and the authoritative image.

RICHARD RIGG'S work resonates within its own solipsistic self-referentiality. The work is its own context. Object, function and aesthetics combine to find a reductive equilibrium through which he re-examines the minimal strategy in art, moving its flawed logic towards an aesthetic endgame.

Using herself as a template for the individual and challenging the notion of self in today’s media-obsessed society through mediated mainstream reportage

CECILIA STENBOM presents the ideal of the perfect person as an unachievable but self consciously striven-for entity.

MILES THURLOW'S work is deliberately paradoxical - at once conceptually sophisticated and aesthetically bare. Referencing the demise of modernism and the rise of quick fix, cheap alternatives his work investigates the architecture of modern day living and our relationship with the products of consumer culture.

WOLFGANG WEILEDER'S long exposure photographs are of the sculptural rebuilding of specific houses and architecture. Constructed and deconstructed one façade at a time Weileder’s architectures are displaced and isolated through location, labour and time. These ephemeral, time based events become translucent images of urban regeneration portraying haunting civic visions of a possible future.

Image "It's Not The End Of The World", Darren Banks, 2007, Single Channel Video.

www.workplacegallery.co.uk

Catherine Bertola & Peter J. Evans: "Beautifully Crafted", National Glass Centre, Sunderland, UK

`Beautifully Crafted'
October 25 2008 – February 22 2009
Preview Friday October 24, 6 - 8pm.

10th Anniversary Open Weekend
25 & 26 October 2008 1am - 5pm
A weekend of tours, talks and demonstrations.

In 2008, National Glass Centre enjoys its 10th Anniversary. To
celebrate this and the work it does to support artists make, show and
sell their work, National Glass Centre is launching `Beautifully
Crafted'; an exhibition of ingenuity, exquisite workmanship,
innovation and delight, along with a weekend of special events.

Before the Industrial Revolution artisans were the dominant producers
of goods, handcrafting functional as well as ornamental items that
fulfilled a universal desire for beautiful objects. `Beautifully
Crafted' explores the innovative ways contemporary artists and
designers create works that fuse cultural histories and ancient
techniques with new technologies and new ways of working.

It will bring together the work of established and emerging artists,
designers and businesses from the UK, across Europe and beyond, who
are experimenting in a range of materials and form that pay homage to
bygone traditions, artisan techniques and display a meticulous
attention to `making'; from glassmaking to taxidermy, lacemaking to
marquetry.

NGC invited a range of curators, artists/designers and writers, to
choose an artist whose work they felt fitted within the philosophy and
premise of `Beautifully Crafted'. Along with research undertaken by
the NGC curatorial team, seventy artists are included in the
exhibition, working with around 20 different traditional techniques.
The exhibition will feature antique furniture and objects from the
late 18th and early 19th century, courtesy of The Bowes Museum
collection as well as objects from Beamish Museum's archive.

Beatifully Crafted Artists:
Kathleen & Nick Abbott, Michael Anastassiades, Louise Batchelor, Lise
Bech, Catherine Bertola, Martin Blenkin, Sarah Cant, Chien-Wei Chang,
Jonathan Chiswell Jones, Jennifer Collier, Jacqueline Cullen, Dot Sim,
John Edwards, David Ersser, Peter J Evans, Liam Flynn, Nora Fok, Eri
Funazaki, George Smith, Gillies Jones Glass, Michael Golding, Mia E
Goransson, Karina Hesketh, Magie Hollingworth, Sarah Hutchison,
Industreal, Grace Jacomb, Paul Jewby, Ditte Johansson, Jessamy Kelly,
Anna S King, June Kingsbury, Bovey Lee, Jennifer Lee, Carlyn Lindsay,
Beth Lipman, Malin Lundmark, Nicola Malkin, Joanna Manousis, James
Maskrey, Massey & Rogers, Maya Romanoff, Rupert McBain, Kelly
McCallum, Einav Mekori, Annie Millar, Michelle Ni, Lyn Randall,
Reptile Tile & Ceramics, Kait Rhoads, Stephen Richards, Riyaz Design,
Anthony Roussel, Mark Rowney, Henrietta Rose Samuels, Lucy May
Schofield, Cosima Sempill, Sheldon:Cooney, Urh Sobocan, Paul Stone,
Laura Strasser, Melanie Tomlinson, Jessica Townsend, Flora Vagi,
Sylvie Vandenhoucke, Anne Walker, Ceal Warnants, Kathryn Wightman,
Kate Williams, Robin Wood.

Some of the techniques and materials featured in the exhibition
include; Ceramics and Glassmaking, Wood Turning, Basketry, Furniture
design & making, Papermache, Millinery, Silversmithing, Book-binding,
Textiles, Wallpaper, Parquet & Floor design, Taxidermy, Upholstry, Bag
making, Leather working, shoemaking, Lace making, Stitiching, Automata
making.

NATIONAL
GLASS CENTRE

Liberty Way, Sunderland, SR6 0GL
0191 515 5555
0191 515 5532
NGC Reception: 0191 515 5555
reception@nationalglasscentre.com
www.nationalglasscentre.com

Wolfgang Weileder: "Le Terme", Ciocca Arte Contemporanea, Milan, Italy, Leuven, Belgium

le Terme
a time based site-specific architectural installation
Ciocca Arte Contemporanea, Milan Italy
October 08

Builders from R. Bau UK aided by architecture students from Politecnico di Milan are simultaneously constructing and de-construct a section of Diurno Venezea, a derelict 1920’s public bathhouse at Piazza Oberdan. The historical architecture that lies forgotten underneath the surface is revealed in a performative gesture and the square's surface becomes the mirror of memory: Diurno is upturned like an image reflected in the water. The sculpture will directly reference shape and scale of the bathhouse below (five metres high and sixty metres long).

Whilst reflecting the permanence and immobility of the remains below, Le Terme is a structure of constant movement where walls appear and disappear and the construction of the monumental becomes a visible experience, encouraging a public discussion about the city's forgotten spaces.



www.rossanaciocca.it
www.rossanaciocca.it/le terme

Peter J. Evans: "WHAT WE CAN'T SEE INFLUENCES BEYOND OUR REACH" ACA (Allenheads Contemporary Arts), UK

What we can't see influences beyond our reach

Peter J. Evans

Saturday 18th October 2008, 2-5pm, at ACAshop

In the summer of 2007 Peter J. Evans applied for one of the first Base Elements residencies at Allenheads Contemporary Arts. His proposal, titled Mountains into grains of sand was an attempt to draw out the familiar patterns weaving through all things and examine how scientific principles could lend support to existential philosophies and social theories. The idea was to find examples of these overlaps. However, on starting the project it quickly became apparent that due to the necessary rigidity of the scientific method, such overlaps, would need theories of how they might function; and ways of testing them. In short, Evans’ project would have to become reductionist and rigid and this fundamental switch would have moved the project away from its intention.

The proposal then, got placed on the back burner and for a while a front ring remained unlit. Over this period many books were read, on quantum physics, cultural theory, essays on silence and the more information gained the more lost and found the project became until it was clear that lost and found was a good enough fuel to burn.

Utilizing his drawing practice in which works, “are formed by diagrammatic processes and artificial systems are used to chart and delineate abstract concepts such as human relationships, memory and beauty,”[1] Evans has made a work in which the hidden may at moments become visible, links disappear and appear depending on the light and as in the quantum world things influence our experience without their presence being seen.

Peter J. Evans lives and works in Newcastle Upon Tyne. He has recently exhibited at Spacex Exeter, Seventeen London, Baltic and Workplace Gateshead.


Exhibition continues Sunday 19th, Saturday 25th & Sunday 26th October, 2-5pm. For further details please contact:

Allenheads Contemporary Arts
The Old Schoolhouse
Allenheads
NE47 9HR

www.acart.org.uk
acaheads@aol.com
01434 685040

Marcus Coates: "Three BY Three (2)", Sunbury House, London, UK

Laura Lancaster: Voyage Sentimental - Poznań Biennale - Poland

Laura Lancaster
Voyage Sentimental
Poznań Biennale - Poland

3 -30 October 2008


Voyage Sentimental

The exhibition presents the most recent artistic endeavour, mainly from the area of Central Europe. The thematic scope is reflected in seven sub-titles: Private Stories / Public Conflict, Melancholy and Longing, Urban Rumors, Micro-realism, Mania and Obsession, On Time and Silence, Gardens and Islands.

Among 79 featured artists are: Marina Abramović, Günter Brus, Jan Fabre, Gloria Friedmann, Izabella Gustowska, William Kentridge, Anselm Kiefer, Jarosław Kozłowski, Laura Lancaster, Zbigniew Libera, Hermann Nitsch, Roman Opałka, Giuseppe Penone, Michelangelo Pistoletto, Günther Uecker, Lee Ufan.


Voyage Sentimental

Wystawa prezentuje sztukę najnowszą, głównie z regionu Europy Środkowej. Jej tematykę sygnalizuje siedem podtytułów: Private Stories / Public Conflict, Melancholy and Longing, Urban Rumors, Micro-realism, Mania and Obsession, On Time and Silence, Gardens and Islands.

Wśród 79 artystów są m.in. Marina Abramović, Günter Brus, Jan Fabre, Gloria Friedmann, Izabella Gustowska, William Kentridge, Anselm Kiefer, Jarosław Kozłowski, Laura Lancaster, Zbigniew Libera, Hermann Nitsch, Roman Opałka, Giuseppe Penone, Michelangelo Pistoletto, Günther Uecker, Lee Ufan.


Curated by Lorand Hegyi

http://mediations.pl/#/en/wystawy/voyagesentimental

Laura Lancaster & Rachel Lancaster: "The Sovereign Art Prize", Somerset House, London

SOVEREIGN EUROPEAN ART PRIZE

The Sovereign Art Foundation has announced the artists shortlisted for its third annual Sovereign European Art Prize.
Artists can only enter the prize through a process of nomination by one of the foundation’s Europe wide network of art experts.

The shortlisted artists are:

AES+F, Russia; Maurizio Anzeri, UK; Sandy Sykes, UK; Mimi Mollica, Italy; S¿ren Lose, Germany; John Stark, UK; Susanne S.D. Themlitz, Portugal; Nadia Hebson, Germany; Daniel Canogar, Spain; Laura Lancaster, UK; Rachel Lancaster, UK; Laurent le Deunff, France; Lynne Collins, UK; Nicola Di Caprio, Italy; Eòghann Mac Colla, UK; Andrew Gilbert, Germany; Miikka Vaskola, Finland; Douglas Fishbone, UK; Tiina Heiska, Finland; Joss McKinley, UK; Ben Murphy, UK; Peter Churcher, Spain; Anda Bankovska, Latvia; Rita Magalhaes, Portugal; Michael Fliri, Austria; Ida Cecilie Kvetny, Denmark; Julie Nord, Denmark; Goldin+Senneby, Sweden; Marisa Gonzalez, Spain; Tina Gibbard, UK.

Works by the thirty artists will go on show at Somerset House from the 1-10 October.
During the exhibition the judges will decide on the ultimate winner of the €25,000 first prize.

Judges:

Sir Peter Blake: Honorary Chair
Tim Marlow: Director, White Cube
Jarvis Cocker: Artist, Pulp
Rachel Campbell-Johnstan: Art critic, The Times
Philly Adams: Director of the Saatchi Gallery
Alan Yentob: Creative Director of BBC Television

In addition, members of the public can also vote for the shortlisted artists, on the Sovereign Art Foundation’s website or during the exhibition, to decide the winner of the €1,000 public vote prize.

www.sovereignartfoundation.com
www.somersethouse.org.uk

Images:
Laura Lancaster "Untitled" 2008, 13cm x 18cm Oil on Board
Rachel Lancaster "Untitled (Lipstick)" 2008, 40cm x 50cm Oil on Canvas

Wolfgang Weileder: "Slapende Meermin", STUK Kunstencentrum, Leuven, Belgium

Wolfgang Weileder

Slapende Meermin

a full scale site-specific
architectural installation

Martelarenplein,
Leuven, Belgium
30 September - 4 October 2008

Slapende Meermin references a historical building situated at the North end of Martelarenplein, Leuven. Above the ground floor window the name of a bar/café has been carved originally into the stone lintel: A la sirene - in de Meermin. The sculpture is a full-scale copy of the façade of this building turned by 90 degrees. Appearing like a physical manifestation of the building's shadow, the architectural structure stretches out on Martelarenplein over a length of nearly 18 meter.

Slapende Meermin has been developed by the artist with r.Bau Ltd, South Tyneside and Newcastle College UK, and Wonen en Werken Leuven.
Slapende Meermin is a STUK Kunstencentrum Leuven project and part of the STUKSTART openingevent. Martelarenplein is opposite Leuven Central Station.
For further information visit: www.stuk.be

Laura Lancaster: "Behind", Monitor Gallery, Rome, Italy

Behind

allsopp&weir, Nina Beier & Marie Lund, Simon Evans, Sven Johne, David Maljkovic,
Laura Lancaster, Damien Roach, Agathe Snow, Sue Tompkins, Bedwyr Williams
curated by Ilaria Gianni

opening September 15th, 6.30pm

Monitor gallery is pleased to open its 2008-9 season with Behind, curated by Ilaria Gianni. This group show featuring several international artists takes a groundbreaking artistic and curatorial approach by placing completed artworks alongside elements from the preceding stages in the creative process, with a view to analysing the process that leads up to the creation of a work.

Behind has involved artists from diverse backgrounds, with different research methods and interests. The show will feature the documentation, archive material, sources, references, data and impressions behind each of the works included in the exhibition.

More than an exhibition in the traditional sense, Behind strives to be a kind of 'cabinet' displaying a critical strategy behind the artistic process itself. As Dominic Eichler states so eloquently, "even though art works aren't generally footnoted, references are now more than ever used as artistic material like lumps of clay to a potter" (Frieze #117, September 2008).

allsopp&weir, Nina Beier & Marie Lund, Simon Evans, Sven Johne, David Maljkovic, Laura Lancaster, Damien Roach, Agathe Snow, Sue Tompkins and Bedwyr Williams were all asked to reason out the creative process that culminated in their works by retracing their individual stages of artistic research. The artists reacted to this input by questioning their methods, rethinking their actions and shedding light on their moments of profoundest thought.

Sven Johne, Nina Beier&Marie Lund, David Maljkovic and Laura Lancaster responded to the Behind concept by opening up their archives, collections and essential research behind their works, while Agathe Snow and allsopp&weir revealed the cultural references and characters that provided them with inspiration. Sue Tompkins, Bedwyr Williams and Damien Roach on the other hand focused on the completion process of their pieces.

From the diverse feedback provoked by Behind it has emerged that this show is above all a reflection on method, on process as a concept and a look into the very personality of the artist.

Until October 20th

With the support of Residence Barberini, Rome

Monitor is open from Tuesday to Saturday from 1.00 p.m. until 7.00 p.m -viale delle Mura Aurelie 19 00165 Rome-t: 06.39378024 m:monitor@monitoronline.org w:www.monitoronline.org

image:
Laura Lancaster
Untitled 2008
Installation Film still
Courtesy of the artist and Workplace Gallery

Catherine Bertola: "Over the Teacups", Galerie M + R Fricke, Berlin

Over the Teacups: Exhibition of work by Catherine Bertola
Galerie M + R Fricke, Invalidenstr. 114, Berlin
13 September-1 November 2008
Private view: Friday 12 September, 7-9pm

This exhibition brings together a collection of new and existing work by British artist Catherine Bertola, and will include installation, drawing, embroidery and photographic works in her first solo show outside the UK.

The title of the exhibition, Over the Teacups is taken from the name of an advice column in Women at Home, one of the most pioneering and influential women’s periodicals of the Victorian period. The column was a place where women could exchange confidences as equals and friends regardless of class, age and status. In the radically changing period of the 1800’s the women’s periodical became a vital tool in helping to both define and challenge perceptions of femininity, that still underpin many of our views on women today, a theme which runs through the work brought together in this exhibition.

The exhibition will feature for the first time work from two new ongoing series Thought for the week and Bluestockings.

Thought for the week is a series of text pieces based on quotes collected by the artist from weekly emails received from a life coaching website. The quotes are intended to “inspire and encourage positive thinking”, in an attempt to affirm her belief in them and make her a better person, the artist has carefully and meticulously embroidered these statements to create a series of crafted objects, that hark back to the needlework projects featured in traditional women’s magazine

Bluestockings, is a series of black ink drawings of patterns of the artists’ own lace tights, and follows on from previous works developed out of a fascination with lace as an object through its manufacture and associations with femininity and women’s social history. The drawings allude to tradition lace design work, celebrating the beauty of fabric and the labour of the women who would have historically fabricated it . Each drawing is named after one of the original members of Bluestocking Society, a group of pioneering Georgian women who through networks of friendship, mutual support, intellectual encouragement and professional patronage promoted education for women in an age where they had few rights and little chance of independence.

Catherine Bertola (b. 1976, Rugby) studied at the University of Newcastle (1995-1999), she currently lives and works in Gateshead. Over the last seven years Bertola has undertaken a number of residencies and commissions, working with organisations such as; Locus+ and Vane in Newcastle upon Tyne, Beacon Art Project in Lincolnshire, and the Government Art Collection, V&A Museum and Triangle Arts Trust in London. She has exhibited widely across the UK including The Drawing Room, Union, Fieldgate Gallery and Jerwood Space in London and Baltic in Gateshead. Solo shows at International 3, Manchester (2005), Fabrica, Brighton and Firstsite, Colchester (both 2006). International exhibitions include CAC, Vilnius and Kaunas Picture Gallery, Kaunas, Lithuania (both 2007), Galerie M+R Fricke, Berlin (2007) and Artium, Vitoria Gastiez (2008).

image: Catherine Bertola
Bluestockings (Elizabeth Montagu), 2008
Pen on paper
135 x 80 cms

Matt Stokes:"SINGLE CHANNEL - RECENT VIDEO WORKS", Galerie Thomas Schulte, Berlin

SINGLE CHANNEL - RECENT VIDEO WORKS

Selected by Christopher Eamon

6. September – 4. Oktober 2008
Opening Reception:
Friday, September 5, 7-9 pm on the occasion of "abc art berlin contemporary"
Alongside the opening of Peter Rogier's solo show on Friday, September 5, 2008 between 7 and 9 pm, Galerie Thomas Schulte is presenting the project "Single Channel - Recent Video Works" with nine young international positions selected by Christopher Eamon.

Single-channel video making has had a relatively long history. Partially eclipsed in the 1990s by video installa-tions and video environments, the medium today still has an immediacy and accessibility that larger more com-plicated multi-channel works do not have. The works included in the presentation "Single Channel - Recent Video Works" at Galerie Thomas Schulte reveal perhaps even a sophistication that was not possible in the 70s through mid 90s without the mass availability of more complex software. The selection of works is an eclectic but refreshing look at some current practices. This selection avoids of the decades-long practice of video performance as well as an even longer practice of using appropriated film and TV images to produce new works. That which unites the selection is the artists' investment of time and energy to realize a unique vision in single channel. Some of the works are meant to be projected, yet all of the works take flexibility of the medium as a given.
Works such as those by Matt Stokes, Alejandro Vidal, Benny Nemerofsky Ramsay, and Kris Lefcoe take their starting point squarely in the heart of youth culture. Whether mass or sub-cultural in their subject matter, the spirit of youth in dance, music, eroticism and revolt is most evident. Zhenchen Liu and Taysir Batniji poeti-cally speak of changes in the contemporary world. Avoiding a direct message, the works take on current global issues from the point of view of the individual, which is not to say that these works bare no emotional or political impact. Indeed these are not documentaries and therefore do not in bad faith attempt neutrality. As art-works they speak and release their images to the necessa-rily subjective responses proper to all viewers. Similarly, the openness of the tableau-like work by Adad Hannah opens up fear, possibly even humour in its quiet enduring way. On the surface the videos shown by Alex Hubbard and Elisabetta Benassi have little to do with each other, yet in tipping the camera to the horizontal position looking down at the artist's imaginative activities in Hubbard's video, for instance, or the slow cumulative filming of actual demolition sites, shifts the horizontal-that which is normal at your feet to an eye line perspective becoming vertical moving images without imitating painting in any obvious way.

Christopher Eamon is curator of the Pamela and Richard Kramlich Collection, which is one of the largest private collections for media art, and director of the New Art Trust in San Francisco for promotion of media art. Before he was Assistant Curator at the Whitney Museum of American Art, New York. He has curated numerous exhibitions with video and media art for e.g. PS1/MoMA, ICA, London, and the San Francisco Museum of Modern Art.

image: Matt Stokes
Cipher, 2006 - 2007
Super 16mm film and audio transferred to digibeta/DVD
Courtesy of the artist and Workplace Gallery, UK

"All my favourite singers couldn't sing ..." Workplace Gallery, Gateshead, UK

“All my favourite singers couldn’t sing...”

Dan Arps, Tanya Axford, Darren Banks, Sophie Lisa Beresford,
Hugo Canoilas, Marcus Coates, Jo Coupe, Ashley Hipkin,
Graham Hudson, Laura Lancaster, Rachel Lancaster, Ant Macari,
Paul Merrick, Eleanor Moreton, Melanie Schiff, Cecilia Stenbom.

Preview: Friday 29th August 6 – 9pm

30th August – 27th September 2008
Tues - Sat, 11am -5pm (or by appointment)

“All my favourite singers couldnʼt sing…” is the first exhibition at The Old Post Office, the new home of
Workplace Gallery in the heart of Gateshead Town centre. This group exhibition includes works by
represented gallery artists alongside new local talent and invited international artists and spans all 3 floors of
the 18th Century red brick building.

A weird abstract painting hovers above the after swing of a Golfer in a palm tree landscape, silhouetted in
front of a sunset sky. Dan Arps makes additions to found posters by gluing and tacking painted symbols and
shapes to their glossy surfaces. The resulting images occupy a tense position between expectation and
fantasy, In Arpsʼ work the promise of the perfect feel-good moment is thrown into doubt.

Tanya Axfordʼs ʻHulaʼ is a Super 8 film installation documenting the artist Hula Hooping in a blacked out
room whilst being randomly exposed by a series of oversensitive ʻslaveʼ camera flashes triggered by an
intermittently firing strobe light. The random strobe effect creates a film that through its intermittent and
abrupt exposures circumnavigates performance, animation, memory and dislocation. ʻHulaʼ is shown for the
first time at Workplace Gallery, the film looping up through the three floors of the building through the
stairwell.

ʻPublic Sculpture / Private Radarʼ by Darren Banks is a looped excerpt from a found video of a heroic Cold
War era Moore-esque figurative sculpture slowly turning from left to right like a radar sweeping the horizon to
a wailing siren-like soundtrack. Shown on an upturned found 80ʼs plastic TV set Banks combines past
signifiers of progress and modernity whilst confronting them with their own obsolescence to create a tense
object that reflects our desire for power and fear of collapse and knowingly sends up Public Sculpture (past
and present) in the process…

ʻPizza Shop Danceʼ by Sophie Lisa Beresford is a video of the artist dancing manically to a hardcore
Makina dance track in her local Pizza shop in Sunderland, a regular occurrence that the Artist documented
for her recent degree show at Sunderland University. Beresfordʼs work emerges from deep within the
ʻCharvaʼ culture of the North East of England to be mixed with her own take on aspects of Hinduism,
Mysticism and New Age Philosophy.

Since his epic solo installation “Propaganda” at Workplace Gallery in 2006 Hugo Canoilas has continued to
make artworks that explore art and politics whilst fluctuating between the formal and the figurative. His new
sculpture ʻSit down and try another chair (To J.M.J.)ʼ presents us with a “Sexy/fashionable intervention on a
red square by Malevich” in which a seat less chair frame painted flame red is bisected by an elegant, but
nevertheless dislocated, shiny black mannequins leg.

Marcus Coatesʼ ongoing investigation into the natural world and its problematic relationship to society is
evidenced here in two works. ʻBlue Footed Boobyʼ was made by the artist whilst on a research trip in the
Galapagos Islands, the artist dressing up in a colourful outfit handmade and painted from found cardboard
boxes, photographed outside a human dwelling in one of the Galapagos more impoverished
neighbourhoods. ʻBritainʼs Bitternsʼ is a folk song written and sung by Coates lamenting the demise of the
rare bird from the British Isles.

Jo Coupeʼs new work told her to give it some of her favourite jewellery. Wall mounted Bronze castings of
Chickens Feet and Anthuriums, (also known as Painter's Palettes) support rotting fruit and brightly coloured
necklaces, earrings and trinkets to form a sinister looking talisman. Coupes ongoing research into chemistry
and natural sciences is seemingly leading us towards a darker Voodoo like visual language in which
Witchcraft and so called ʻPrimitiveʼ cultures are assembled from the detritus of our own.

Ashley Hipkinʼs discrete wall mounted sculptures in highly finished and luxurious turned hardwoods are
taken from the profiles of the nose cones of Fighter Jets. Serving as both a lexicon of boyhood fantasy and
taxonomy of the sculptorʼs craft these works are a persistent and intruding reminder of worldwide aggression
and the machinations of war.

Graham Hudson uses the tools of his trade, a jack saw, a tape measure, a cardboard box to assemble a
precarious minimal sculpture held in tension by a reflexive assertion of the functional aspects of its
constituent parts. As the saw bites into the top of a high wall its handle forms a fulcrum for a tape measure to
spool through and counter balance the box by its own weight high up the wall as if ready for a prat-fall prank
of slapstick nature. Its title ʻBlackmail Spectacleʼ implies the exchange, interdependency and implicit failure
within the relationship of one object to another.

Through a series of installations combining found 35mm slides and cine film projected onto second hand
books and picture frames Laura Lancaster confronts us with moments in time that are simultaneously lost in
the anonymity of the found image and ever present in our innate nostalgia. These films and slides are key to
Lancasterʼs practice as a painter, forming the source material of much of her practice over the last few years.
In these works sightseeing, holidays and leisure become silent weighty monuments to humanity and its
passing.

Rachel Lancasterʼs paintings, drawings, and photographs use images from paused cult TV and Film. In her
works based on explosions catastrophic moments are frozen in time stripped of scale and context, blurring
fiction and reality. Playing with the periphery of our imagination the images take on an almost pure abstract
absoluteness that points towards the possibility of an ugly endgame.

For Ant Macari Drawing is the most direct and immediate way of sharing both simple and complex ideas. It
is a language of symbolism, significance, instruction and occasionally ambiguity. Posing the question: can
meaning ever truly be known? In a new work for the exhibition Macari works to improvise within the imposed
parameters of the gallery building.

Paul Merrickʼs ʻRaised Painting (#1)ʼ is a continuation of his interrogation of painting and process in relation
to the found object. A scrap aluminium surface is raised above the floor supported by modular utilitarian
fluorescent lighting units, semi clad in sterling board to reveal the innards within. ʻRaised Painting (#1)ʼ is
reminiscent of a defunct and stripped back Donald Judd style minimal sculpture which asserts itself through
challenging and beguiling the viewer to accept it as Art.

Eleanor Moreton paints an imaginary world of princes, anchoresses, and queens and cottages. The princes
come in a range of disguises - their inspiration ranges from Disney to Slovakian puppets. They are always
ridiculous. The fairytale world that Moreton creates alludes to German Romanticism and psychoanalytic
theory, both of which have explored the theme of the unhomely (or uncanny). But her position is always one
of ambivalence, both desiring the imaginary and knowing that it is a desire that cannot be fulfilled.
The still life photographs of Melanie Schiff are composed of objects that belong to human experience. Often
referents of a generation and an American youth: Compact Disc cases, empty beer bottles, blue jeans,
album covers. Schiffʼs subject could be herself, but more accurately they are constructions that point to
romanticised experiences. Exposed in the sobering natural light of the morning after the objects in Schiffʼs
photographs act as props that imply a narrative, conjuring a sense of youthful carefree abandonment for
which we perhaps still yearn.

Cecilia Stenbom's video ʻThe Protocolʼ is a re-staging of an American infomercial, which in turn is an
imitation of a US talk show. An interviewee is selling a book about a weight loss cure; a set of guidelines
explaining how to lose weight without any deprivation or exercise, only occasionally interrupted in her
relentless flow by an interviewer seemingly in on the act. Stenbom performs both characters in a mirror
image that shifts the film away from straightforward re-enactment reflecting back the neurotic inner chitchat
of the consumer, and the perpetual sales pitch cloaked beneath the guise of junk science and daytime TV.

For further information regarding any of the works in the exhibition please visit sales@workplacegallery.co.uk

The next exhibition at Workplace Gallery will be a solo exhibition by Eric Bainbridge opening on 10th October.

Eric Bainbridge: "Forward Thinking 1976 - 2008", MIMA, UK

Workplace Gallery is pleased to announce:

Eric Bainbridge “Forward Thinking 1976 - 2008”
MIMA
Middlesbrough Institute of Modern Art
Centre Square
Middlesbrough
TS1 2AZ
t:+44 (0)1642 726 720
www.visitmima.com

Preview: Thursday 28th August 6 – 9pm

Exhibition Continues
29 August - 16 November 2008

Celebrated for large-scale, everyday objects covered in man-made fabrics, Eric Bainbridge has spent the past three decades investigating a variety of materials and styles. This exhibition will combine selected works from the 1970s to the present, newly commissioned sculpture and a collection of works on paper. Together they will allow the viewer to take a closer look at an artist who has continued to play an influential role in post-war sculpture.

A graduate from the Royal College of Art in 1981, Eric Bainbridge has exhibited extensively on both sides of the Atlantic throughout the 1980s and 1990s including several highly acclaimed exhibitions at the Institute of Contemporary Art, Boston, Walker Art Centre, Minneapolis, Institute of Contemporary Art, London, and Stedelijk Museum, Amsterdam.

For further information regarding the work of Eric Bainbridge please contact info@workplacegallery.co.uk

Image: "Vertical Extension" 1987, Eric Bainbridge, Courtesy of the artist and Workplace Gallery, UK

Ant Macari: New Commission for Side Cafe, Newcastle, UK

Side Cafe
Side
Newcastle upon Tyne
United Kingdom

Opening of newly commissioned permanent drawing installation (internal doors) at the Side Cafe (quayside).

The work takes as its reference; the polyptych panels of 15th century altarpieces, The Japanese Tea-Ceremony, sumi-e and manuscript culture. The piece also incorporates the 3,000-Year-old technique of Marouflage. The panels on the door contain symbolic narrative scenes illustrating the cross cultural story of Tea, unified by an architectural and decorative system of framing.

Darren Banks & Cath Campbell: "The Golden Record" Collective Gallery, Edinburgh, UK

The Golden Record - 1 August - 13 September

Curated by the Collective Gallery's Associate Producer, Mel Brimfield.

The Collective Gallery are proud to present, The Golden Record - Sounds of Earth, a unique cross platform/cross festival project which is part of both The Edinburgh Art Festival and The Edinburgh Festival Fringe. Artists and comedians will come together to remake the original Golden Record - a phonograph record launched into space in 1997, containing sounds and images selected to portray the diversity of life and culture on Earth. Over a hundred artists have created new work to be shown in the gallery space.

Commissioned by Collective Gallery in association with Pleasance Theatre, Go Faster Stripe and Battersea Arts Centre. Part of the Edinburgh Art Festival.

COLLECTIVE, 22-28 Cockburn Street, Edinburgh EH1 1NY

Gallery Opening Hours
Tuesday - Saturday, 12 - 5pm

Marcus Coates: "Dawn Chorus" MANIFESTA7 Trento, Italy

Dawn Chorus is the latest in a series of films by Coates in which the human voice accurately mimics birdsong. In this multi-screen video installation 19 singers reproduce a recording of a group of wild British birds singing at dawn. Dawn Chorus explores the relationship between birdsong and its parallels with human culture and behaviour.

DATES
19.07.-02.11.2008

OPENING HOURS
Monday-Sunday: 10.00 am-7.00 pm
Friday: 10.00 am-7.00 pm

http://www.manifesta7.it

Manifesta is one of the most important European Biennials of Contemporary Art and it takes place every two years in different cities. Being itinerant is its peculiarity, and as Documenta Kassel and the International Art Exhibition of the Venice Biennale, it is one of the highlights for international contemporary art.

In the past years Manifesta has been hosted in Rotterdam, Luxembourg, Liubljana, Frankfurt, San Sebastian.

In 2008 for the first time Manifesta will take place not in a city but in a whole region: Trentino – South Tyrol, Italy. The area has been selected for its historical heritage, its artistic and cultural facilities and especially for its striking examples of industrial archaeology buildings, which are linked to the work history and the progressive industrialisation of the territory. This land has always been a bridge between Latin and German culture and it connects cultural developments as well as Southern and Northern habits.

Manifesta 7 will take place in several venues chosen amongst the most important examples of industrial archaeology existing in the Brenner axis, from Rovereto to Trento, from Bolzano to the fortress of Fortezza, to create a broad, multi-faceted event characterized as “100 miles in 100 days”.

Along with the various exhibitions, the whole territory itself can be seen as the catalyst for a series of collateral events, encouraging research and focusing on the relationship between different cultures.

image:

Marcus Coates
Dawn Chorus (Installation View), 2006
14 Screen Installation at BALTIC Center for Contemporary Art. Photography Colin Davison
Duration 20 Minutes (Looped)
Courtesy of the artist and Workplace Gallery

Cecilia Stenbom: "Breslau CV (New Media, Arcitecture, & Film)" Wroclaw, Poland

Cecilia Stenbom

will be showing the following 4 works:

The Inspector, 2007
Search & Destroy, 2006
Daily Escapes, 2005
Gadgets - A presentation of exceedingly useful technical devises, 2004

at

Breslau CV (New Media, Arcitecture, & Film) Festival, Wroclaw, Poland

14th - 17th July 2008

image:

Cecilia Stenbom
Search and Destroy, 2006 (detail)
Video
Duration 2'40"
Courtesy of the artist and Workplace Gallery