DOCSLIB.ORG

Ne W Forest Pavilion 52Nd International Art Exhibition La Bi Ennale Di Venezia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ne W Forest Pavilion 52Nd International Art Exhibition La Bi Ennale Di Venezia NE W FOREST PAVILION 52ND INTERNATIONAL ART EXHIBITION LA BI ENNALE DI VENEZIA ESSAYS MARTIN COOMER on SIMON FAITHFULL ANNA-CATHARINA GEBBERS on BEATE GÜTSCHOW JOHN SLYCE on ANNE HARDY COLM LALLY & CECILIA WEE on IGLOO DAVID THORP on MELANIE MANCHOT CHARLOTTE FROST on STANZA New Forest Pavilion published by ArtSway and The Arts Institute at Bournemouth on the occasion of the exhibitions: NEW FOREST PAVILION 52nd International Art Exhibition - la Biennale di Venezia Palazzo Zenobio 10 June - 1 July 2007 and NEW FOREST PAVILION - LOCAL ArtSway 26 May - 15 July 2007 ArtSway, Station Road, Sway, Hampshire, SO41 6BA The Arts Institute at Bournemouth, Wallisdown, Poole, Dorset, BH12 5HH Editors: Peter Bonnell, Laura McLean-Ferris and Josepha Sanna English Translation from German: R. Jay Magill & Tanja Maka (text by Anna-Catharina Gebbers) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted at any time or by any means electronic, mechanical, photocopying, recording or otherwise without the prior permission of the copyright holders. Set in Nilland and Soho. Printed by Printwise, Lymington, England © the artists and the authors ISBN: 0-9543930-9-0 [ArtSway] ISBN: 978-0-901196-20-0 [The Arts Institute at Bournemouth] Introduction New Forest Pavilion is an ArtSway international project that presents the work of six artists to a global audience within the framework of ArtSway’s innovative artist support scheme and residency programme. Five of the exhibiting artists are former ArtSway artists-in-residence, with Stanza being curated by SCAN (Southern Collaborative Arts Network). The overarching theme that unites all six within the context of New Forest Pavilion is their treatment of how one experiences transformation, modi!cation and change. A partnership project, New Forest Pavilion exempli!es a collaborative approach to presenting and discussing artists’ work. It weaves together ArtSway’s curatorial methodology with the Arts Institute at Bournemouth’s text + work programme, SCAN’s support and curating of new media, and also meets the interests of funding organisations such as Arts Council England, the Arts and Humanities Research Council and Hampshire County Council. Situated in the bucolic village of Sway in England’s ancient New Forest, ArtSway is a contemporary visual arts centre that identi!es itself closely with its rural surroundings. In recent years, however, the gallery has developed an increasingly national presence throughout the UK before reaching out to an international audience in 2005 with the ambitious, but uno"cial, New Forest Pavilion at the 51st International Art Exhibition – La Biennale di Venezia. A residency programme was established at ArtSway in 2001, initially under the title ‘NavvyGate’, and later as ‘Production’ – the latter a term that succinctly encapsulates ArtSway’s aim to support artists to make and then later exhibit their work in its galleries. Although close to the metropolitan areas of Bournemouth and Southampton, artists who undertake a two- month Production residency often !nd the quietude provides an opportunity to re#ect upon and develop their practice. Since 2001 ArtSway has hosted at least three artists-in-residence per year, supporting twenty-two artists of great promise and skill from around the world. However, once a residency and subsequent exhibition at ArtSway has been completed the artist returns to their normal practice, to continue to develop their careers and to search for new opportunities – often in isolation. The pressing question then is: how best to provide continuing support for artists associated with ArtSway? In 2004 an initiative to support a small selection of artists who had completed an ArtSway residency was begun. This scheme was titled ‘Art, Artists, Audiences and Intimacy’ (AAA&I) and as the title suggests was intended to provide curatorial and professional support to the selected artists, and to engage them with a global audience. This scheme took a signi!cant leap in 2005 when those involved in the AAA&I progamme, as well as other previous artists-in-residence, were included in the !rst New Forest Pavilion. Since this !rst Venice venture, a more comprehensive artist support programme entitled ‘ArtSway Associates’ is currently being introduced, focusing particularly on former artists-in-residence unattached to a commercial gallery, but also continuing links with those that do bene!t from commercial representation. Sustainability is both a catchall and the key to the continuing development of ArtSway’s legacy support of artists, as is the sharing of this process with audiences via a new scheme entitled ‘ArtSway Xtra’. By employing an innovative approach, and supporting its most precious reserve (the artist and the work they produce), ArtSway aims to grow and develop: a rural arts centre in constant #ux, with an enduring local and global approach to supporting artists and engaging audiences. Peter Bonnell and Mark Segal - ArtSway text + work Talking a Visual Language: The objective of the New Forest Pavilion catalogue, produced on the occasion of the 52nd International Art Exhibition – la Biennale di Venezia, is to bring critical discursive writing to each of the exhibited works. Enabled by text + work – a programme of the Arts Institute at Bournemouth and the core concept of its Gallery - in conjunction with ArtSway, it is the result of a collaborative process between individuals, groups of individuals, and a number of enterprises. The partnership between text + work and ArtSway consolidates the enterprise of the academic and professional institution and commits itself to raising the quality of critical engagement. text + work explores the role of text and its relationship to contemporary art practice, and seeks to provide a forum for producing dialogue between the two practices. Using language to discuss visual art is a way of representing one medium through another; it is a be!tting tool for interpretation but how to best make use of this tool is what text + work aims to explore. It seeks ways with which to successfully translate art’s primarily sensory experience into another sensory and, arguably, linear and orderly one: the written word. In doing so, it delves into what the role of text is, or could be, in relation to practice; we can probably agree that it need not be the systematic unravelling of meanings, or a mere description, but we might agree that it is something to take away, a portable reminder of that primarily sensory experience. As text plays an increasingly important role in its engagement with art, this intertwining becomes the cause for debate. Questions surrounding the responsibility of the writer to the potential, present, and absent audience arise. Just as the artist has a responsibility to the artwork, the writer has a duty to the text. We must consider whether the written word can be an e$ective substitute for the experience of the artwork, and, if so, how we can ensure that text, already charged with the pre-presentation of the work, as accompaniment, and as interpretation, does not obstruct this experience or become the cause of its disappearance. By providing a platform for practitioners, writers, and curators who wish to examine these matters and extend the boundaries between contemporary practice and commentary, text + work seeks appropriate methods and forms of language with which to preserve the integrity of both text and work, and to ensure that the work continues to exist outside of, and after, the exhibition. Within the New Forest Pavilion catalogue, text + work in partnership with ArtSway provides a meeting place of sorts for the two distinct practices of writing and that of making art. The contributing writers were each invited by the exhibiting artists themselves, thus honouring the ethos of the intertwining of text and work. Stephanie James & Josepha Sanna - the Arts Institute at Bournemouth Simon Faithfull Dante’s ‘The Divine Comedy’ is said to have inspired books as diverse as Betty Ford’s ‘Healing and Hope’ and L. Frank Baum’s ‘Dorothy and the Wizard of Oz’ in addition to countless works of art and music by Botticelli, Liszt and others, so its reference by Simon Faithfull in his 2002 video Orbital No1 is not in itself unusual. That Faithfull should employ the circular structure of Dante’s ‘Inferno’ while taking us on a spin round three of London’s most unloved commuter routes, however, draws attention to an enmeshing of the mythical and the mundane that has been the highly idiosyncratic preserve of the British artist for a number of years. These views of three apparently in!nite journeys are spliced and projected in concentric circles: at the centre we look through the windscreen of a train as it makes its way around the Circle Line; providing imagery for the annuli, are the views of a car-bound traveller on the North and South Circulars and the M25. This could be a contemporary vision of hell – indeed if the title suggests that this is the !rst video in a series, the nine circles of Dante’s ‘Inferno’ point to an obvious expansion of the Simon Faithfull, 30km (2004), video still, DVD, 32min, project. Yet this interpretation is too neat to capture the many subtleties at play. commissioned by Film & Video Umbrella, courtesy Arratia Beer, Berlin Those familiar with Faithfull’s work will be attuned to moments of apparent and Parkers Box, New York. ordinariness gradually spiralling into signi!cance. Denoted in this instance by #ashes of headlights re#ected on a rain-spattered windscreen or in the passage of an oncoming train, a multitude of journeys and individual narratives pulse with orchestral intensity. Similarly, in PalmPilot drawings made in a variety of locations, detail often registers as miraculously as a heartbeat on an oscilloscope. There’s economy and humility here, not to mention humour in the case of ‘landmarks’ such as a bingo hall or electricity pylons that punctuate records of walks along the A13 (2004) or the course of the River Lee (2000), and it’s these qualities that ensure our continued attraction to Faithfull as a guide as his peregrinations become more epic.
Load more

Recommended publications
  • To the Ends of the Earth: Art and Environment | Tate
    Research Online research publications RESEARCH PAPER To the Ends of the Earth: Art and Environment Art & Environment By Nicholas Alfrey, Stephen Daniels, Joy Sleeman 11 May 2012 Introducing the group of articles devoted to the theme of ‘Art & Environment’ in issue 17 of Tate Papers, this essay reflects on changing perceptions of the term ‘environment’ in relation to artistic practices and describes the context for a series of case studies of sites, spaces and processes that extend from the immediate locality to the most remote boundaries of knowledge and experience. The group of articles devoted to the theme of art and environment in issue 17 of Tate Papers aims to explore new research frontiers between visual art and the material environment. The papers arise from a conference held at Tate Britain in June 2010 at which a range of practitioners and scholars – artists, writers, curators, theorists, historians and geographers – presented case studies of artworks addressing specific sites, spaces, places and landscapes in a variety of media, including film, photography, painting, sculpture and installation. The conference considered relations between artistic approaches to the environment and other forms of knowledge and practice, including scientific knowledge and social activism. The papers addressed cultural questions of weather and climate, ruin and waste, dwelling and movement, boundary and journey, and reflected on the way the environment is experienced and imagined and on the place of art in the material world. Held at a time when the emergent effects of economic crisis were intersecting with a more established sense of ecological crisis, the conference offered an opportunity to rethink the relations between art and environment, which had become central to a number of art exhibitions and publications.
    [Show full text]
  • Save Preston Bus Station Banner
    6DYH3UHVWRQ%XV6WDWLRQ EDQQHU 7KLVEDQQHUZDVGHVLJQHGDQG PDGHE\EDQQHUPDNHU(G+DOO +HFRQWDFWHGWKH6DYH3UHVWRQ%XV 6WDWLRQJURXSDQGRIIHUHGWRPDNHD EDQQHUWRKHOSWKHFDXVHWRVDYHWKH EXLOGLQJIURPGHPROLWLRQ ,WZDVFDUULHGLQDSDUDGHRQ 6DWXUGD\1RYHPEHUZKLFK EHFDPHDFHOHEUDWLRQRIWKHEXLOGLQJ EHLQJJUDQWHG*UDGH,,OLVWHGVWDWXV )RUPDQ\RIWKHVXSSRUWHUVLWZDV WKHÀUVWWLPHWKH\KDGPHWDVPXFK RIWKHFDPSDLJQKDGEHHQFDUULHG RXWRQVRFLDOPHGLD 2QORDQIURP,Q&HUWDLQ3ODFHV %XV6WDWLRQ&RQQHFWLRQV 7KHVHFDVHVFRQWDLQLWHPVEURXJKW LQE\SHRSOHZKRUHVSRQGHGWRD FDOORXWIRUREMHFWVWKDWFRQQHFWWKHP WR3UHVWRQ%XV6WDWLRQ 7KH\RIIHUDJOLPSVHLQWRZKDWWKH EXLOGLQJKDVPHDQWWRWKHSHRSOHRI 3UHVWRQDQGIXUWKHUDÀHOGRYHUWKH ODVW\HDUV 6DUDK:DONHU 7KLVSKRWRJUDSKZDVWDNHQE\ 6DUDKҋVGDXJKWHU(PPDLQ 6KHLVQRZVWXG\LQJDUFKLWHFWXUDO GHVLJQDW/LYHUSRRO8QLYHUVLW\ 1RUPDQ3D\QH 1RUPDQ3D\QHXVHGWKLV1DWLRQDO ([SUHVVGLVFRXQWFDUGLQWKHV ZKHQKHZDVDVWXGHQWDW8&/DQ DQGWUDYHOOHGIURP3UHVWRQ%XV 6WDWLRQWR6RXWKDPSWRQ +HOHQ/LQGVD\ 7KLVFROOHFWLRQRILWHPVUHÁHFWV +HOHQҋVORQJLQWHUHVWLQ3UHVWRQ%XV 6WDWLRQ7KHFRQFUHWHIUDJPHQWDQG &KULVWPDVFDUGZHUHIURP FROOHDJXHVDW/DQFDVKLUH3RVW6KH DOVRKDVDSDUWLQWKHÀOP &KDUOHV4XLFN 7KHSRVWFDUGZDVDSUHVHQW,WLV DOZD\VNHSWLQWKHEDFNRIKLV QRWHERRNDQGLVFDUULHGDWDOOWLPHV DVUHIHUHQFH 0U/HDYHU :DVDNHHQEXVVSRWWHU7KLV EXVVSRWWLQJPDQXDOGDWHVIURPWKH VDQGPDQ\RIWKHEXVHVLQLW XVHG3UHVWRQ%XV6WDWLRQ 5LWD:KLWORFN 7KLVPXJDQGFRDVWHUXVHGWREH VROGLQ3UHVWRQ7RXULVW,QIRUPDWLRQ &HQWUHZKHUH5LWDZDV0DQDJHU 6KHSXUFKDVHGWKHPDVVKHORYHV %UXWDOLVWDUFKLWHFWXUH &KULV/RQHUJDQ &KULVLVD6HQLRU(QJLQHHUDW$583 LQ0DQFKHVWHU$OORIWKHVWDIILQWKH RIÀFHKDYHDFXEHZLWKWKHLUSLFWXUH RQ,WDOVRLQFOXGHVVRPHWKLQJ
    [Show full text]
  • Collaborative Relationshipsaid & Abet
    news venice biennale, international relations features artists and curators talking: issues and outcomes, arts funding: canadian comparison, open studios, postgraduate focus debate believe in film JUNE 2011 collaborative relationships aid & abet £5.95/ 8.55 11 MAY–26 JUN 13 JUL–28 AUG 7 MAY– 26 JUN JVA at Jerwood Space, JVA at Jerwood Space, JVA on tour London London DLI Museum & Art Gallery, Durham An exhibition of new works by Selected artists Farah the inaugural Jerwood Painting Bandookwala, Emmanuel Final chance to see the 2010 Fellows; Clare Mitten, Cara Boos, Heike Brachlow exhibition selected by Charles Nahaul and Corinna Till. and Keith Harrison exhibit Darwent, Jenni Lomax and newly commissioned work. Emma Talbot. Curated by mentors; Paul Bonaventura, The 2011 selectors are durham.gov.uk/dli Stephen Farthing RA Emmanuel Cooper, Siobhan Twitter: #JDP2010 and Chantal Joffe. Davis and Jonathan Watkins. jerwoodvisualarts.org jerwoodvisualarts.org CALL FOR ENTRIES 2011 Twitter: #JPF2011 Twitter: #JMO2011 Deadline: Mon 20 June at 5pm The 2011 selectors are Iwona Blazwick, Tim Marlow and Rachel Whiteread. Apply online at jerwoodvisualarts.org Twitter: #JDP2011 Artist Associates: Beyond The Commission Saturday 16 July 2011, 10.30am – 4pm The Arts University College at Bournemouth | £30 / £20 concessions Artist Associates: Beyond the Commission focuses on the practice of supporting artists within the contemporary visual arts beyond the traditional curatorial, exhibition and commissioning role of the public sector, including this mentoring, advice, advocacy, and training. Confirmed Speakers: Simon Faithfull, (Artist and ArtSway Associate) Alistair Gentry (Artist and Writer, Market Project) Donna Lynas (Director, Wysing Arts Centre) Dida Tait (Head of Membership & Market Development, Contemporary Art Society) Chaired by Mark Segal (Director, ArtSway).
    [Show full text]
  • A Brief History of the Arts Catalyst
    A Brief History of The Arts Catalyst 1 Introduction This small publication marks the 20th anniversary year of The Arts Catalyst. It celebrates some of the 120 artists’ projects that we have commissioned over those two decades. Based in London, The Arts Catalyst is one of Our new commissions, exhibitions the UK’s most distinctive arts organisations, and events in 2013 attracted over distinguished by ambitious artists’ projects that engage with the ideas and impact of science. We 57,000 UK visitors. are acknowledged internationally as a pioneer in this field and a leader in experimental art, known In 2013 our previous commissions for our curatorial flair, scale of ambition, and were internationally presented to a critical acuity. For most of our 20 years, the reach of around 30,000 people. programme has been curated and produced by the (founding) director with curator Rob La Frenais, We have facilitated projects and producer Gillean Dickie, and The Arts Catalyst staff presented our commissions in 27 team and associates. countries and all continents, including at major art events such as Our primary focus is new artists’ commissions, Venice Biennale and dOCUMEntA. presented as exhibitions, events and participatory projects, that are accessible, stimulating and artistically relevant. We aim to produce provocative, Our projects receive widespread playful, risk-taking projects that spark dynamic national and international media conversations about our changing world. This is coverage, reaching millions of people. underpinned by research and dialogue between In the last year we had features in The artists and world-class scientists and researchers. Guardian, The Times, Financial Times, Time Out, Wall Street Journal, Wired, The Arts Catalyst has a deep commitment to artists New Scientist, Art Monthly, Blueprint, and artistic process.
    [Show full text]
  • Art & Environment
    Art & Environment AHRC Landscape and Environment Conference 25-26 June 2010 at Tate Britain Image on cover: Straw bales in field from Robinson in Ruins © Patrick Keiller Image on this page: David Nash—Black Steps 2010 Photo Jonty Wilde Welcome … Welcome to Art & Environment. This is the third and final summer conference of the AHRC Landscape and Environment programme, following those on Landscape in Theory (Nottingham 2008) and Living Landscapes: Performance, Landscape and Environment (Aberystwyth, 2009). Like its forerunners Art and Environment focuses on a key theme of the programme and brings together project holders with fellow scholars and practitioners. The panels of this conference are made up of a range of Art & Environment experts in the field: artists, working in a range of AHRC Landscape and Environment Conference media, curators, authors, and academic researchers, including art historians and cultural geographers. Many presenters have multiple identities and affiliations. We are delighted Art and Environment is hosted by Tate Britain, who are a major award holder in the Landscape and Environment programme with a project on ‘The Sublime Object: Nature, Art and Language’. We are pleased you have accepted the invitation to come to the conference, hope you enjoy the proceedings and have the opportunity to contribute in discussion, from the floor or during lunch and the reception. Stephen Daniels Programme Director www.landscape.ac.uk This conference will explore engagements between visual art and the material environment. The environments in question are natural and fabricated, interior and exterior, urban and rural, terrestrial and aerial. The visual arts in question are historical and contemporary and in a range of media.
    [Show full text]
  • Scaling the Sublime: Art at the Limits of Landscape
    SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE Martin John Callanan Simon Faithfull Tim Knowles Mariele Neudecker Rebecca Partridge Katie Paterson Richard T Walker Curated by Rebecca Partridge and Nicholas Alfrey SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE DJANOGLY GALLERY NOTTINGHAM LAKESIDE ARTS 05 Foreword As Nicholas Alfrey has highlighted at the beginning of his essay, Scaling the Sublime originated in another earlier exhibition Reason and Emotion: Landscape and the Contemporary Romantic . Mounted at the Kunstverein Springhornhof, Germany, in 2013, the exhibition was curated by Rebecca Partridge with Randi Nygärd and Bettina van Dziembowski. Since that time Nicholas and Rebecca have been discussing ways in which they might re-focus and develop its themes, refine the selection of artists and bring it to a British audience. Subsequently, there have been a number of exhibitions in Britain and overseas exploring the theme of contemporary responses to landscape and the legacy of Romanticism, often as mediated through the more recent Land art. These include Land’s End (Chicago, 2015); Setting Out (New York, 2015); In Search of the Miraculous (Newlyn Art Gallery, 2015) and Terrain: Land into Art (Hestercombe Gallery, Somerset, 2016). Scaling the Sublime does not attempt to re-trace the ground covered by these recent shows; instead it brings together the work of artists who are closely linked by their creative and in some cases personal affinities, but who have never been shown together as a group in this way before. In terms of the Djanogly Gallery’s own history, this exhibition also forms part of a strong lineage of landscape-themed surveys reaching back to its inception at the beginning of the 1990s and reflects to a large extent the strengths of teaching and research in the Art History department and the strong emphasis on Cultural Geography in the School of Geography at the University of Nottingham.
    [Show full text]
  • Panel Discussion “Beyond Scientific Visualisation” on the Occasion of the Exhibition “Weaving the Universe: from Atoms to Stars”
    Panel Discussion “Beyond Scientific Visualisation” On the occasion of the exhibition “Weaving the Universe: From Atoms to Stars” Thursday 7 October 2010, 7 p.m. Schering Stiftung | Unter den Linden 32-34 | 10117 Berlin Under the title “Beyond Scientific Visualisation“ five guests from science and the arts will consider questions such as “Are collaborations between artists and scientists able to produce work capable of advancing scientific research?“, “Is art able to serve science without losing its artistic integrity?“ or “Are artistic concepts, like beauty, symmetry, and aesthetics, able to fertilize the increasingly complex and abstract visual language of science?“. THE DEBATERS ARE: Simon Faithfull Simon Faithfull is a contemporary artist whose work has been exhibited extensively around the world. Recent projects include a video-work recording the journey of a domestic chair as it is carried to the edge of space (commissioned by Arts Catalyst), a drawing project sending back live digital-drawings from a two month journey to Antarctica (an Arts Council International Fellowship with British Antarctic Survey) and an animated film developed from drawings made on a mundane walk out of London along the A13 trunk road (a Channel 4 TV commission with Arts Council England). Recent exhibitions have included solo shows in Galerie Polaris (Paris), Stills (Edinburgh) and Cell (London). Faithfull’s work also featured at the 2008 Venice Biennale. Simon Faithfull was born in Oxfordshire, UK, studied at Central St Martins and then Reading University. His practice takes a variety of forms - ranging from video making, to digital drawing projects, installation work and writing. Faithfull is also a lecturer at Slade School of Fine Art, UCL, London.
    [Show full text]
  • Free Exhibitions Café Bar Shop Events S E P — O Ct 2 0 18
    SEP — OCT 2018 SHOP EVENTS CAFÉ BAR FREE EXHIBITIONS WELCOME Welcome to the autumn programme at Modern Art Oxford. Our main exhibition Future Knowledge celebrates the role of creativity in generating solutions to the earth's problems. From showcasing the ingenuity of biomimicry, to displaying thought-provoking work by artists who explore climate change in their practice, Future Knowledge investigates the role of artistic enquiry in #0308-2B31Llareta (2,000 + years old; Atacama generating creative responses to environmental issues. , , 2008. Image © Rachel Sussman. The new academic year sees the return of our annual exhibition celebrating and supporting graduate artists. Rachel Sussman The Platform Graduate Award is a series of three solo Desert, Chile) exhibitions by selected graduates from Oxford Brookes University, University of Reading and The Ruskin School of Art, University of Oxford. We welcome back the Shadowlight Artists who last exhibited at the gallery in 2016. The group showcase their increasingly ambitious work as a disability arts collective in this exhibition split across two venues, Arts at the Old Fire Station and Modern Art Oxford. Image courtesy the artist. 2018 , Latent, Annie Le Santo EXPLORE AT WWW.MODERNARTOXFORD.ORG.UK BOOK EVENTS ONLINE OR CALL US +44 (0) 1865 722 733 EXHIBITION Future Knowledge 22 September – 28 October 2018 Free entry, all welcome Preview Party: Friday 21 September, 6.30–9pm Eve Mutso performance: Friday 21 September, 6.30–7pm , 2015. Installation view: Tania , solo exhibition, Museum of Science & Future Knowledge is a thought- Moving through the exhibition visitors Indian provoking exhibition exploring the role will be introduced to environmental , of visual culture in continuing to raise innovations, revealing new site-specific Evaporation awareness of the effects of climate methods for understanding our change.
    [Show full text]
  • Ice Blink - Simon Faithfull
    Parker’s Box 193 Grand Street Brooklyn NY 11211 718 388 2882 www.parkersbox.com [ PRESS RELEASE ] ICE BLINK - SIMON FAITHFULL APRIL 7 – MAY 8, 2006 GALLERY HOURS: FRIDAY TO MONDAY 1 TO 7 PM OPENING RECEPTION: FRIDAY APRIL 7, 6-9 PM BEER BY CARLSBERG Parker’s Box is delighted to present ICE BLINK, a solo exhibition by Simon Faithfull. The artist has developed a practice largely based on observation using palm-pilot drawings as well as video works, where the processes involved impose themselves on the spectator as much as Faithfull’s careful choice of subjects. The latter provide a record of what the artist has witnessed, from his life in London and Berlin, to specific projects in various locations, with a diversity of subject matter ranging from the Dreamland series, for example, which documents the funfair at Margate in England, to the emptiness of the Antarctic- the subject of the present exhibition. The Ice Blink project is the result of Simon Faithfull’s “residency”, in which he accompanied the British Antarctic Survey, a long established British government project that takes scientists to the extreme remoteness of an Antarctic research station. The term Ice Blink refers to a meteorological phenomenon where a white glare in the clouds warns of the presence of invisible ice at sea, and this choice of title parallels Faithfull’s honed ability to identify and exploit the often bizarre particularities of the subjects he chooses. As such, the Antarctic proves a perfect subject for Simon Faithfull, from the sparsity of features placed on the blank white canvas of the ice floes, (lending themselves to the observational economy of palm-pilot drawings), to the inherent incongruity of man’s presence in this inhospitable desert with its unreal, even absurd parameters of scale, time and space.
    [Show full text]
  • Whitstable Biennale 2014 Announces Winners of Major Award
    - PRESS RELEASE Whitstable Biennale 2014 announces winners of major award WINNERS Whitstable Biennale is pleased to announce that the winners of its 2014 Open Submission Award are Louisa Martin and Rachel Reupke What the award means The recipients of the cash prize win the opportunity to create a new work for Whitstable Biennale 2014 providing them with huge audiences. As well as funding for the work the artist receives developmental support from Biennale curators. but really this is only the beginning. Artists who have exhibited at Whitstable Biennale often go on to be hugely successful. Showing at the festival is now seen as a career stepping stone. This is perhaps why applications are received not just from around the UK but globally. Whitstable Biennale Assistant Curator, Kate Phillimore says: "I love the fact that both the 2014 Open Submission Winners will be using the opportunity to experiment with new ways of making work and pushing boundaries. Rachel Reupke is a filmmaker but will be presenting live performance work for the first time in her career and Louisa Martin will be breaking new ground by collaborating with a dancer, set designer, and DOP to create a dynamic, multi-layered 5 part film." Global catchment area There were a massive two hundred and thirty two entries for this award. This is a very big number, given the amount of work involved in the application process and it also confirms and demonstrates a high level of interest in Whitstable Biennale amongst contemporary artists. It adds huge support to the idea that artists see the Biennale as something that will greatly benefit their careers.
    [Show full text]
  • Æarts & Education ISSUE 3 SUMMER/AUTUMN 2012
    Arts & Education ISSUE 3 SUMMER/AUTUMN 2012 Andy Berriman Elina Jokipii Ben Campbell Phill Scott Joseph Cartwright Sarah Stirling Andee Collard Jessica To Matt Daw Henry Ward æ Keith Graham Image by Elina Jokipii Editorial Henry Ward In 1826 the French inventor Joseph Sarah Stirling discusses the role her OCD has Nicéphore Niépce produced the first in the way she approaches teaching and Phil permanent photograph. 186 years later we Scott writes about the issues of subjectivity are inundated with photographic images. It in the classroom. The artist Simon Faithfull is difficult to imagine a world without them. chooses to use his iPhone to draw with rather The explosion in social media in recent years than as a camera and I present some of his has led to a profusion of photographs. We work with an account of a conversation we add and tag images everyday. Photography had whilst on an artist’s walk in Kings Cross. has grown to play an increasingly important role in education. Ten years ago cameras Photography is extremely accessible. Almost were still a rare tool in the art classroom. everyone has use of one kind of camera The developments in digital photography or another. Most people take photographs. and the accessibility of the medium, through Everyone looks at them. There is little doubt smartphones and image manipulation that it is photography that is responsible software, has begun to change the way we for making us into the predominantly visual teach. Increasingly photographs are used culture that we now are. Addressing the issues to record processes, explore ideas and that this raises, encouraging young people document ephemeral art.
    [Show full text]
  • Research on the Education and Learning of Adults
    The Societal Unconscious Research on the Education and Learning of Adults Series Editors (On behalf of the European Society for Research on the Education of Adults) Emilio Lucio-Villegas (University of Seville, Spain) Barbara Merrill (University of Warwick, United Kingdom) Marcella Milana (Aarhus University, Denmark) Henning Salling Olesen (Roskilde University, Denmark) Editorial Advisory Board Michal Bron Jr. (Södertörn University College, Sweden) Anja Heikkinen (University of Tampere, Finland ) Françoise F. Laot (University Paris-Descartes, France) Linda Morrice (University of Sussex, United Kingdom) -RDQQD2VWURXFK.DPLĔVND University of Warmia and Mazury, Poland ) Angela Pilch-Ortega (Graz University, Austria) Andreas Wallo (Linköping University, Sweden) *HRUJLRV=DUL¿V Aristotle University of Thessaloniki, Greece) VOLUME 8 The titles published in this series are listed at brill.com/esre The Societal Unconscious Psychosocial Perspectives on Adult Learning Edited by Henning Salling Olesen අൾංൽൾඇ_ൻඈඌඍඈඇ This is an open access title distributed under the terms of the CC-BY-NC 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Cover illustration: Photograph by Clane Gessell All chapters in this book have undergone peer review. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov ISSN 2542-9345 ISBN 978-90-04-42025-0 (paperback) ISBN 978-90-04-42026-7 (hardback) ISBN 978-90-04-42027-4 (e-book) Copyright 2020 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, %ULOO1LMKR൵%ULOO5RGRSL%ULOO6HQVH+RWHL3XEOLVKLQJPHQWLV9HUODJ9HUODJ Ferdinand Schöningh and Wilhelm Fink Verlag.
    [Show full text]