Jerwood Encounters: TTTT
14 May – 22 June 2014
Jerwood Space, London
JOHANN ARENS/ NICHOLAS BROOKS / BENEDICT DREW / CÉCILE B. EVANS / OLIVER LARIC / NICOLE MORRIS / HEATHER PHILLIPSON
TTTT, a Jerwood Encounters exhibition curated by Sarah Williams, responds to recent developments and concerns amongst artists who are exploring sculpture and screen-based practices in new forms and materialities, in relation to language, technology, image dissemination, sentimentality and anxiety. A series of reconfigured works will be shown alongside new works by Oliver Laric and Benedict Drew.
Oliver Laric’s Mansudae Overseas Project is a 75cm tall monument of a stock character, void of profession. The character is kept unspecific, as the method and place of production define its specificity. Laric commissioned this bronze statue with the Mansudae art studio in Pyongyang, the first work they have undertaken for a private individual. From the single bronze Laric received from Pyongyang, multiple copies have been produced. Benedict Drew‘s new video work charts a hallucinatory and dyslexic reading of geology, modernist architecture and desire. Drew works with video, sculpture and music, to examine the tension between the analogue and the digital, their parallels and departures, through immersive works that confront this dichotomy in contemporary culture.
Nicholas Brooks, Cécile B. Evans and Nicole Morris each present reconfigured work; Brooks will show self-made, found and specially manufactured objects staged alongside a screen-based presentation of objects; his interest in objects lies in an intimacy with the virtual. Evans’ work How happy a Thing can be incorporates both sculptural and video elements; 3D printed objects are set with a moving backdrop of a screen alluding to alternate location for these objects. Morris’ reconfiguration of Your Love Will Fade is presented within an environment created specifically for the exhibition; her work explores the performativity of a body in space, how the relationship is navigated and explored within both the filmic construct as well as the actual space of viewing.
Showing for the first time in London, Johann Arens’ film essay, a montage with an ancient depiction of Venus and Mars as its centrepiece, is an enquiry into the illicit tactile relation with artefacts, whilst also considering the recent proliferation of mobile touch-screen interfaces. Heather Phillipson will show a film experienced via a colourful sculptural viewing platform; Phillipson works across video, sculpture, sound, text and live events, splicing images, noises and objects from the digital and physical leftovers at hand.
A series of new works will be launched as part of the exhibition’s accompanying events programme. These will include a new performance by Nicole Morris; a film screening of How happy a Thing can be by Cécile B. Evans, co-commissioned by Radar, Loughborough University and Wysing Arts Centre; and a staging of a work in progress titled Friendly Thing from the Future by Nicholas Brooks.
The curatorial motivation for TTTT was to explore the influence of the contemporary world on approaches to the making of sculpture and three-dimensional artwork. It takes into account the impact of the internet and digital environment on many artists work, seen in the way in which artist are exploring space, language, the body, our relationships to objects (things) and material, specifically in relation to the viewer.
Many of the works in the exhibition utilise screen-based and sculptural approaches, as a way of directing the viewer around, through or into the work. Traditionally sculpture has achieved this through its physical presence, form and materiality. Where screen-based, filmic and sculptural approaches are shown in configuration, further complications occur between viewer and ‘thing’.
The exhibition provides a space to consider how the way in which we perceive and navigate the world is changing as our lives become more mediated through a screen and how artists are responding to these concerns. While in the case of this exhibition, the acronym TTTT refers to the phrase ‘These Things Take Time’, an internet search engine further reveals other associated meanings – ‘Too Tired To Type’ ‘Too Tired To Talk’ and so on. These slippages subtly hint at rapid developments within our language which are influenced by the internet, and to our own experience of ‘things’ and ‘time’ which are also changing in the current technological, economic and political environment.
A catalogue with a commissioned essay by Joanne McNeil will be available in the gallery during the exhibition. McNeil is a writer and researcher interested in the ways that technology is shaping art, politics and society. Blog posts by Shama Khanna, Jerwood Visual Arts writer in residence, will be published on the blog throughout the exhibition: blog.jerwoodvisualarts.org
Image: Cécile B. Evans, How happy a Thing can be, 2014. Installation view Annals of the Twenty-Ninth Century at Wysing Arts Centre. Photo: Plastiques Photography. Co-Commissioned by Radar/Loughborough University of Arts and Wysing Arts Centre. Courtesy of the artist.
Jerwood Encounters: Assembly
9 May – 24 June 2012
Jerwood Space, London, SE1 0LN
ASSEMBLY was a Jerwood Encounters exhibition of newly commissioned work by artists who work collaboratively and are influenced by the current digital landscape with artists Kim Coleman and Jenny Hogarth, The Hut Project, and Charlie Woolley.
Within recent years a surge in the use of digital communication technology has impacted on artistic practice in the way work is produced, discussed and displayed. As a result there has been an increase in performance-based work, events, film, installation, broadcast and online exploration. Assembly aims to explore the influence of the constantly-shifting platform of the Internet and how work made in an increasingly digitalised world is reconciled within the context of a physical gallery space.
Kim Coleman & Jenny Hogarth’s videos, events and installations use technologies that augment ways of seeing to create works that reveal how these technologies relate to the performativity of people, places and objects. For Assembly, the artists showed an exploded, installation of their blog, an online record of separate journeys shown as a continuous chain of overlapping and mirrored events. For more information visit Kim Coleman & Jenny Hogarth’s website.
The Hut Project is an artist collective interested in how objects might perform as containers of their own process. Their discursive practice constructs long sequences of translations between action, image, and object, resulting in artworks that act like stages for, or between, events. For Assembly, The Hut Project created a new dance work for video, derived from a segment of documentation of a previous performance resulting in a large-scale production by a choreographer and dance company at a Jerwood Space rehearsal room then shown in the exhibition in the mediated form of a single-channel video installation. For more information visit The Hut Project website.
Charlie Woolley brings together images, objects and collaborators within his practice, producing works that respond to a variety of subject matter from the flickering screens of television sets and found material from the Internet to exploration into the veracity of protest aesthetics. His epic Radio Show, an ongoing collaborative broadcast platform, has been presented in several galleries and has involved many participants. For Assembly, Woolley created an installation containing drapes and furniture which formed the context of a space for activity. Over the course of the exhibition he collaborated with individuals and organisations and invited participants to take part in a series of events housed within his installation. The work became activated by interaction, conversation and the gathering of bodies in the space. For more information visit Charlie Woolley’s website.
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Image: Kim Coleman and Jenny Hogarth, http://kimcolemanjennyhogarth.co.uk/blog/ 2012 . Courtesy the artists
13 October 2011 – 6 November 2011
APT Gallery, Harold Wharf, 6 Creekside, Deptford, London, SE8 4SA
Curated by Clare Undy and Sarah Williams
Caline Aoun, Claire Bayliss, Richard Clements, Dexter Dymoke, Kate Liston, Sarah McNulty and Mia Taylor
Matter brought together seven emerging artists whose work reflects a return to post-minimalist practice, where works display abstract qualities, have a strong material presence and use their own materiality as subject. Bringing together painting, sculpture, drawing, photography and film, the works in the exhibition are resolved and carefully constructed, though never overstated or overly complicated in form.
Much of the work, although displaying an abstract quality, makes reference to the real world, through materials, their relation to the landscape or exhibition space. The works are almost accidentally abstract, rather than abstracted or adhering to a more traditional notion, questioning what it means to be a contemporary abstract artist and how this contextualises itself in 2011.
Matter is sponsored by abstractcritical, a not-for-profit organization established in 2010 to promote and facilitate discussion of abstract art through free, monthly live events across the UK and an online archive of interviews, articles and debate at www.abstractcritical.com
Image: Kate Liston, 2011. Courtesy the artist
An exhibition of newly commissioned performances by Edwina Ashton, Jack Strange and Bedwyr Williams.
SHOW sought to examine the integral role that performance plays within an artist’s practice and its subsequent representation in an exhibition context. SHOW consisted of live performances and experiments in performance documentation.
The newly commissioned performance works took place during the opening night and throughout the exhibition.
Essays by Sarah Williams, Curator of SHOW and Catherine Wood, Curator of Contemporary Art and Performance at Tate Modern accompanied the exhibition.
Jack Strange, Zip And Zing, 2011
Duration: five minutes, intermittently
Two legs protruded from holes in the gallery wall separated from each other and surrounded by a large space of white wall. The performance bear reference to sculptural works by Robert Gober or Erwin Wurm, in which limbs are disjointed and appear detached from their human counterparts. Yet the limbs in Strange’s performance moved repeatedly in a nervous fashion for a short period of time then disappeared back into the holes in which they appeared. This motion is inflicted by the capability of the performers; their ability to move for any length of time is limited and performers, all of whom were volunteers invited to participate through an open call for entry, needed to rotate every 3.5 hours.
Strange’s performance was as much about the endurance of the performers as it was about reading the live moment as a form of moving sculpture, available to view and experience during the exhibition opening times. The piece was viewed in short fragments and not in its full duration, transforming it into an experience as disjointed as the limb it displays.
Bedwyr Williams, Urbane Hick, 2011
Performance, installation and limited edition book
Duration: 30 minutes
The live performance occurred once at the exhibition opening. The resulting installation ran throughout the exhibition. The performance, which took place on an altar-like large plinth, accompanied the launch of a new book entitled ‘Bedwyr, I’m sorry I missed your performance’. The book documents almost all of the artist’s performances to date, from art school to the present, including photographs, scripts and writings. During the performance the artist sat on a posture chair with a person dressed as an archetypal collector sat opposite him, listening with an expressionless face while the artist questioned the nature of performance and it’s financial worth.
There was a conscious decision for the artist to perform once and to leave the exhibition stage set, using projected documentation of the performance to form the basis of a gallery installation, raising questions about performance ephemera and the reading of objects or props as historical relics, but also about the role of film in representing a live moment and audience reaction. ‘Urbane Hick’ also explored the artist’s remoteness living in a village in North Wales and his connection to the city where he comes to perform, bringing with him his observations of living out in the provinces. Williams’ current art practice, which includes sculpture, painting, stand-up comedy, posters, photography and performance, often uses his own experiences as a starting point for examining a subject area in a way that is simultaneously satirical and serious.
The book ‘Bedwyr, I’m sorry I missed your performance’ – a limited edition of 1000 was launched during the exhibition.
Edwina Ashton, Peaceful serious creatures (lobster arranging), 2011
Performance Duration: two hours, intermittently
“With some reluctance we pass from these charming prawns to their larger relatives. The lobster Homarus vulgaris, also moves inshore in the summer and occasionally appears between tide marks. There is always a chance of meeting this handsome blue animal lurking in the depths of a pool near low water level of spring tides. And in the extreme southwest of Britain the brown rock-lobster or crawfish, Palinurus vulgaris, with richly sculptured and spiny shell but with out the great claws of the true lobster, may also make rare appearance on the shore.”; C.M.Yonge, The Sea Shore, New Naturalist Collins, London, 1961 p 90–91
Across the Channel, Gerard de Nerval’s saved his pet lobster Thibault from nets off La Rochelle. They would take in walks in Paris attached by a blue ribbon. Nerval asked ‘Why should a lobster be any more ridiculous than a dog? … or a cat, or a gazelle, or a lion, or any other animal that one chooses to take for a walk? I have a liking for lobsters. They are peaceful, serious creatures. They know the secrets of the sea, they don’t bark, and they don’t gnaw upon one’s monadic privacy like dogs do.’
The gallery wass dressed with discarded material found in the Jerwood Space basement. The performance evolved over the five week duration of the exhibition with the artist, members of the artist’s family and invited artists including: Alex Baker, Ole Hagen, Julia MacKinlay, Jordan McKenzie, Laura Phillips, Kit Poulson, Mirabel Poulson and Aaron Williamson appearing as human-sized lobsters. Ashton is interested in how matter becomes things; props, stage flats or sculptures and links between animal activity, human behaviour and language. Peaceful serious creatures (lobster arranging) started with the discovery in Plymouth aquarium that lobsters rearrange their caves.
Image: Jack Strange, Zip And Zing, 2011.
Photo: Thomas Rydin
Jerwood Encounters: Locate
11 August – 12 September 2010
Jerwood Space, 171 Union St, SE1 0LN
An exhibition of three artists’ responses to the concept of ‘site’ with artists Mel Brimfield, Sarah Pickering and Aura Satz.
Each artist was asked to propose ideas for new works that responded to the idea of ‘site’, be it a geographical location, institution, collection, a fictional or conceptual space. The selected artists then undertook a five month research project to develop their ideas.
Mel Brimfield produced a film that sought to reconstruct a fictional lost performance artwork. She worked extensively on a new script which was developed with a group of actors. A series of four characters provide contradictory eyewitness accounts of a live art event bringing into question whether it is possible to locate a transient performance after its completion.
Sarah Pickering created a new body of photographs in response to a museum exhibition on Fakes and Forgeries organised by the Art and Antiquities Unit of the Metropolitan Police. She accessed the Fakes and Forgeries archive at Scotland Yard allowing her to further research one of the most notorious art forgers in history, Sean Greenhalgh. The aim was to deepen her ongoing exploration of the photograph’s relationship to the real, and the notion of authenticity in the subject; is it possible to locate reality through photography?
Aura Satz explored the notion of how we locate sound. Working as artist-in-residence at the Ear Institute, UCL London, she developed a new intimate, immersive sound sculpture that created a physical and psychoacoustic sonic experience. A large brass horn, appears like a giant hearing trumpet suspended in the gallery space. Visitors were encouraged to place their head inside the sculpture which played a sound piece written and recorded by the artist and played on a multi channel soundtrack which outputs in a spiral sequence.
Jerwood Encounters provide emerging artists with new exhibition opportunities and the chance to explore issues and ideas across disciplines and art forms. For Locate each of the artists was awarded a £2000 commissioning fee to support them to develop their practice in new areas.
Image: Mel Brimfield, Four Characters in Search of a Performance (Installation view) 2010.
Photo: Paul Winch-Furness
Jerwood Encounters: Laboratory
29 July – 31 August 2009
JVA at Jerwood Space, 171 Union St, SE1 0LN
An exhibition which gave three artists, Steven Eastwood, Jock Mooney and Mia Taylor the opportunity to use a gallery space as an experimental site for the production of new work.
The resulting exhibition explored the processes and discourse surrounding art and exhibition production. The gallery was used as a testing ground for new works and a chance to work on larger-scale pieces as the artists temporarily relocated their studios to the gallery space.
Image: Jock Mooney, Laboratory (installation view) 2009
Photo: Paul Winch-Furness
For a link to a film of the Laboratory catalogue unfolding click here.
Jerwood Encounters: An Experiment in Collaboration
July – September 2008
JVA at Jerwood Space, 171 Union St, SE1 0LN
Six artists were asked to choose a collaborator/s to work with to create a new piece for the exhibition including:
Gemma Anderson and forensic psychiatrist Dr Tim McInerny and three of his patients worked to produce a series of portraits.
Daniel Baker and computer game designer Ricky Haggett created a computer game of the artist’s fictional world of Glob.
Michael Pybus and Dazed & Confused magazine produced a series of fashion photographs set within Pybus’ painting/sculptural installation.
Paul Richards and artists: Jason Dungan, Jenifer Evans, Claire Hooper, Eddie Peake, Guy Rusha & Gili Tal, Joe Walsh made an experimental film for cinema.
Karen Tang and architect Daniel Sanderson built a Modernist building titled ‘Modern Molluscs’.
Artist collaborators Jackson Webb and biophysicist Dora Tang produced chemical drawings, a film and dialogue which explored the role of the ‘author’ within collaborative practice.
Image: Paul Richards, Jason Dungan, Jenifer Evans, Claire Hooper, Eddie Peake, Guy Rusha & Gili Tal, Joe Walsh, On second thoughts, Eddie, 2008. Courtesy the artists
24 June – 24 July 2009
Blyth Gallery, London
An exhibition, an instruction, a selection of new works by artists and architects whose individual practices span architecture, painting and sculpture including: Richard Cramp, Ralph Dorey, Heidi Locher and Mobile Studio.
Build was an exhibition, an instruction, a selection of new works by artists and architects whose individual practices spanned architecture, painting and sculpture. New works were brought together under the common theme of the built environment. Although there is a certain amount of difference between the way that architects and fine artists work it has become increasingly common for these practices to crossover and inform the other through collaboration or interdisciplinary modes of working.
Ralph Dorey created a large sculptural installation of timber and plywood to fit around the architecture of Blyth Gallery. With echoes of both continual exploration and geographical occupation this structural language pushed into and was stabilised by the existing space, reinforcing a sense of something mobile and adaptable yet it is unshakably anchored in place, braced against impact but equally ready to move.
Heidi Locher’s installation worked with the architectural concept of noting space using concrete markers to create both space and movement. Using basic building materials she constructed a series of columns which became markers of mortality. These markers carried dark matter which had been smashed and flung, and culminated in a large black purple canvas which carried two broken beams that had been hurled towards the canvas, suggesting the process of pent up emotion and energy.
Richard Cramp built small works that inhabited the cabinet spaces within the gallery. Fitting into the existing architecture, these miniature environments were created to evoke the viewer to consider narrative, space and perception of the recognisable features. The cabinet gave this small scale habitation an air of security or perhaps a false illusion of some sort of Utopian existence where the glass door sealed it from the outside world.
Mobile Studio presented a new satirical work entitled ‘A Vision of Britain’ that drew on current debates over the Prince of
Wales’s controversial interventions into the UK Planning process. ‘A Vision of Britain’ took the form of a game, continuing in the tradition of artists Chess Sets, that acts as metaphor for the continuing debate on taste, style and the future of British Housing, Architecture + Planning.
Image: Ralph Dorey, Princess Yuki Retains the State (detail) 2009
Photo: Mindy Lee
Breaking New (curated with Rose Heelas)
May – June 2009
Five Hundred Dollars, London
A transitory review of new work by eleven artists including: Charlotte Bracegirdle, Aliki Braine, Tessa Farmer, Becky Hunt, Mindy Lee, Clare Mitten, Michael Pybus, Nathaniel Rackowe, Rachel Shannon, Jonathan Trayte and Stephen Warrington.
Breaking New was the second exhibition at Five Hundred Dollars gallery and showcased new work by eleven artists including:
A large-scale architectural light sculpture
Altered reproductions of old master paintings
A monochrome installation of bunting, painting and plinths
A bronze cast sculpture smothered in gloss paint
A small sculptural installation of taxidermy animals
Large-scale paintings of creatures and totems
A photographic series from hole-punched negatives
A sound and drawing installation
Portrait paintings on psychedelic marbled surfaces
Grotesque, beautiful collage and painting
An evolving drawing and sculptural installation
It was a transitory review of artists whose works were brought together without an overarching thematic or conceptual delineation. Patterns of interest emerged throughout with associations of intricacy, intentions, parallel investigations, colour and media. Inclusively there was a sense of wonderment whether visible within the production processes, or in the presentation of unexpected correlations or conclusions.
Repetition & Sequence (curated with Silia Ka Tung)
July – August 2007
Jerwood Space, London
A group exhibition which explored the use of repetition within artistic process including: Michael Ajerman, Rana Begum, Zadok Ben David, Dale Berning, Suki Chan, Itamar Gilboa, Ludovica Gioscia, Emilia Izquierdo, Tess Jaray, Gary McDonald, Michal Rubin, Gideon Rubin and Silia Ka Tung.
Image: Repetition & Sequence (installation view), Jerwood Space, 2009
Photo: Suki Chan
Hide & Seek
MIVART Street Studios, Bristol
An exhibition of site specific works sited within Mivart Street Studios, an Old Victorian red brick building situated in Easton, Bristol. Twenty-two dynamic artists were selected from an open submission as part of a curated exhibition during the annual Mivart Street Open Studios. The project was funded by Arts Council England and focussed on curator and artist professional development.
Image: Nicky Cornwell, Spur, 2006
Photo: Courtesy MIVART Street Studios
Jerwood Space, London
An exhibition that brought together eight international photographers whose work resonates between the boundaries of constructed imagery and direct representations. It included work by: Aliki Braine, Duncan Caratacus Clark, Etienne Clement, Diana Lui, Calanit Schachner, Sandra Senn, Simon Tyzsko and Nicky Willcock.