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.

In 2004, Faithfull was the !rst artist to win an Arts Council fellowship to travel to Antarctica with the British Antarctic Survey and, !lmed through a porthole of RSS Ernest Shackleton, the video 44 captures some of the monotony and boredom of travel but also, thanks to mesmerising #uctuations of light, o$ers a mantra-like means of departure.

The video 30km (2004) transports us even further as, attached to a weather balloon, a camera spins and drifts with the currents, rising until atmospheric pressure causes the balloon to explode. Many artists would bring us back to Earth with a crash but, left to defy gravity on the edge of space, we are reminded that Faithfull maps the territory between aspiration and actuality with generosity; it’s this deeply human aspect of his work that persists, long after the signal fades.

Martin Coomer Simon Faithfull

Simon Faithfull, Escape Vehicle No. 6 (2005), DVD, 25min, dimensions variable, commissioned by Arts Catalyst, courtesy Arratia Beer, Berlin and Parkers Box, New York. Simon Faithfull, 44 (2005), DVD, 44min, dimensions variable, courtesy Arratia Beer, Berlin and Parkers Box, New York. Beate Gütschow

Beate Gütschow, LS#13 (2001), c-type print, 108cm x 85cm, courtesy Louise & Eric Franck Collection. Beate Gütschow, R#1 + R#2 (2007), HD video on DVD, dimensions variable, commissioned by ArtSway, courtesy Barbara Gross Galerie Munich, Produzentengalerie Hamburg. Beate Gütschow

To “present the past in the present […] by visibly uniting the living and the dead” is the “intention” of Jacob van Ruisdael’s images, Goethe writes(1).

Beate Gütschow selected two images by Ruisdael (1628-1682) to investigate the potential they have for updating history. Her video-diptych R#1 + R#2 (2007) references two paintings, both entitled The Jewish Cemetery (1654 and 1655)(2). Ruisdael staged the two variations of his gloomy subject from fragments of reality. The graves he found at Beth Haim in Ouderkerk, near Amsterdam. The ruins in the paintings could be those of the castles at Egmond or at Bad Bentheim. The stream and the hills are likely !ctitious. In so doing, Ruisdael constructed and idealised nature in order to achieve a utopian scenery, rich in allegorical allusion. The pictures thus engender a sublime atmosphere that invite pious contemplation. Gütschow transforms these ‘sampled’ paintings into !lmed digital-montages. Starting with the graves in Ouderkerk, Gütschow tracked down and videotaped other suitable elements, mostly in southern England. The fallen Corfe Castle and dead trees from the New Forest area provide a complement to Ruisdael’s motifs. The videos retrace Ruisdael’s practices and transports them technically into the present. With that, the pathos of the images is born anew; utopian inclinations are overturned: the Beate Gütschow, S#2 (2005), c-type print, 212cm x 177cm, continuous babbling of the stream, which commemorates the #eetingness of life, and the courtesy Barbara Gross Galerie, Munich. deterioration of the “tombs of themselves” (3) (Goethe) transform into a living backdrop for a seemingly post-apocalyptic present.

Gütschow’s video work presents a further development of her photographic LS series. The artist broadened her mode of operations into the medium of video; and here, for the !rst time, she has placed two speci!c paintings at the centre of her investigations. In her LS series, Gütschow reconstructed the general formal principles of Seventeenth and Eighteenth Century landscape painting through the creation of digital montages of analog photographic subjects. The large-format photographic prints of idyllic landscapes seem familiar without being tied to speci!c scenery. More so, the images, through their format and composition, remind one of Ruisdael’s paintings, as well as those by Nicolas Poussin (1594-1665), Claude Lorrain (1600-1682), and John Constable (1776-1837). Subtle yet recognisable di$erences in depths of !eld and angles of light in Gütschow’s montages reveal the constructed nature of these Arcadian scenes. In her current S series, too, Gütschow connects dramatic and sublime compositions with the epic e$ects of distortion: elegant contemporary architecture bespeaks the ideals of modernity in these large-format, digitally assembled black-and-white photographs. Upon closer scrutinising, however, both the physical materials and the created picture space begin to crumble: the concrete is deteriorated and the collages make no attempt to conceal their disparate individual parts. Belief in progress and the autonomisation of individuals produce a fragmented, decaying reality.

With her work Beate Gütschow connects the traditional photographic model of analog representation with the model of painting, able to entirely construct its reality. In so doing, she actualises both of these historical artistic modes and creates a new system of references. R#1 + R#2 concretises Gütschow’s commentary on the general mode of landscape painting through two speci!c works of the genre and transfers the paintings into digital, moving images. Herein, the cold gaze of the camera analyses the constructed mode of the melancholic atmosphere, renewing the formal and semantic implications for a perception of the present.

(1) Johann Wolfgang von Goethe, ‘Ruisdael the Poet’ (1816) in John Gage (ed. and trans.), Goethe on Art, Berkeley, 1980, p. 212. (2) Jacob Isaacksz van Ruisdael, Der Judenfriedhof (The Jewish Cemetery), (1654/55). Oil on canvas. 142.2cm x 189.2cm. Detroit Institute of Arts. Jacob Isaacksz van Ruisdael, Der Judenfriedhof (The Jewish Cemetery), (1655/60). Oil on canvas, 84cm x 95cm. Dresdner Gemäldegalerie Alte Meister. (3) Gage, p. 212. Anna-Catharina Gebbers Anne Hardy

The spaces Anne Hardy constructs as a picture are hauntingly coherent – at times, even uncannily familiar – yet the world intended in her art is never and nowhere merely the given world of everyday reality. That said the spaces and pictures Hardy produces in her studio are equally not simply a world of fantasy and illusion. Hardy constructs compelling spaces in, through and as pictures in order to produce a !ctitious reality not unlike that one may encounter in a novel, or perhaps more reliably in a work of science !ction. Elements of the life world remain present in the autonomous spaces Hardy constructs and those rudiments are evident in the accretion of details she selects, magni!es and transforms as the apparatus of representation in her pictures. The spaces produced contain nothing that does not exist in the world, including its given materials and objects, systems and structures – those of both nature and culture – along with the projected thoughts, actions and feelings of each of us.

Hardy’s practice is located in the visual and material cultures of the streets that surround her east London studio. It is in market-stalls, thrift shops, light industrial zones, or more prosaically on those pavements that Hardy sources the recently discarded and forgotten remnants around which she composes a space and environment and, in so doing, builds a picture before the camera in her studio. Each work begins in fragments – of a story, or material, others may be dictated by a certain found object, or given type of architecture – that come together through major constructions and minute compositional adjustments made across a span of time lasting from two to three months. The history of the construction process becomes part of the ‘history’ of the space, thus a !ctional ‘story’ and the history of a picture’s own making are intertwined as one produces the other. Hardy’s work is about a process not centred on an instrumentalised picture or space. She does not start with a !nished point in mind but rather cultivates a work evolving in turns through Anne Hardy, Outpost (2007), organic growth and decay and fractional adjustments to an environment diasec mounted c-type print, 128cm x 162cm, always considered and composed as a picture. The durational aspects of courtesy the artist and Maureen Paley, London. this elongated process are evident in the details that make her pictures and spaces appear inhabited.

Hardy’s work is grounded in layered and lived-in spaces comprising sometimes planned, but more often provisional and adaptive behaviours and compulsively ordered activities in their attendant architectures. Space is a tangible subject and material in the experience of Hardy’s work, but so too are the presumed activities that belong to and animate each space and picture she constructs. With the protagonist always already absent, such activity is only ever ambiguously signaled through suggestive details that appear to disclose a subterranean space and subaltern set of repeated acts and ritual orders. These may promise to lead back to a wider world, but appear in the hermetically sealed environs of a picture to reside along a space which is now pressed to the margins and, one senses, is soon to be buried deeper and even further beyond by larger forces. Hardy is not really interested in the illusory power of photography to represent the ‘real’. Her interests lie in the illusions we each hold as we imagine we possess some power to order the chaos of life and reign over the structures that dominate and surround. It is still forming, but I can begin to make out the contours of a reconstructive archaeology that posits a future constructed from materials that belong perhaps already too soon to our recent past. The !ctitious world of art thus appears a more reliable and constructive representation of reality in Anne Hardy’s spaces and pictures. John Slyce Anne Hardy

Anne Hardy, Close Range (2006), diasec mounted c-type print, 190cm x 150cm, courtesy the artist and Maureen Paley, London. Anne Hardy, Booth (2006), diasec mounted c-type print, 120cm x 150cm, courtesy the artist and Maureen Paley, London. Igloo

Igloo (Ruth Gibson & Bruno Martelli), Summerbranch (2005/06), computer installation with sound, dimensions variable, a Capture4 co-commission by ArtSway, SCAN and Arts Council England. Igloo (Ruth Gibson & Bruno Martelli), Summerbranch (2005/06), computer installation with sound, dimensions variable, a Capture4 co-commission by ArtSway, SCAN and Arts Council England. Igloo

The Art of Simulation : The permanent co-evolution of cryptic characteristics, or camou#age, and the ability to detect camou#age for what it is, a simulation of the real, forms the dramatic theatre of forest life. This dense eco system is delicately balanced between moments of visibility and invisibility - the dappled light on a leaf turns out to be a clever duplication created by a leaf insect. When the same leaf insect turns out to be a computer-generated simulation of the real thing, the interplay of encrypted layers reminds us of the problematic status attributed to !xed notions of reality. Igloo’s Summerbranch (2005/06), a simulation of the New Forest in Hampshire, England, performs a similar game of hide-and-seek with reality - following a Baudrillardian logic, the installation simulates the forest environment, throwing into jeopardy the category of the ‘originary’ by both propagating the precession of simulacra and subtly modifying the understanding of what the ‘originary’ could be (in Igloo (Ruth Gibson & Bruno Martelli), this case, the notion of ‘nature’) - one can’t help but wonder what else is veiled Summerbranch (2005/06), video, dimensions variable, or concealed in this forest. a Capture4 co-commission by ArtSway, SCAN and Arts Council England. Igloo’s appropriation of military camou#age techniques and a computer gaming engine, continue this play between the ‘real’ and the ‘imaginary’. As camou#age developed in response to aerial photography during the early Twentieth Century, it heralded the start of a new war paradigm, where beginnings and endings were destabilised, panoramas visually occluded and illusory, appearances susceptible to correction, identities made malleable. The playful, continually changing surface of Summerbranch gives legitimacy to Hillel Schwartz’s assertion that camou#age today cannot be conceived merely as a trompe l’oeil, rather it must be acknowledged “as central to the way we make peace as [well as] the way we conduct our wars”(1).

By prompting connections between simulation and camou#age, and providing civilian sympathies and applications for military practice, Summerbranch repositions critical themes of current cultural production. On reaching the edge of the installation, we come face to face with legacies of land (art) and the future of earthly habitats. Through simulating and recon!guring representations of our environment it implicates itself in the continually changing narrative of nature and its parallel development with technology. Summerbranch brings to the foreground our politically-charged preoccupations with topological Interior and Exterior - the dialogue of reconciling a sophisticated, highly technologised world with competing narratives about the resources and uses of our environment.

(1) Hillel Schwarz, Culture of the Copy, Zone Books, New York, 1996, p.208.

Colm Lally & Cecilia Wee Melanie Manchot

If one thing can be said to characterise the work of Melanie Manchot it is her dispassionate representation of the human condition, composed but containing, nonetheless, a sense of deep felt humanity. Manchot’s early works were photographs of her mother naked and semi-naked. This remarkable series of photographs made challenging demands upon both artist and subject and reveals insights into the psychology of mother and daughter. They are accomplished within the conventions of photography and so aesthetically satisfying as large black and white or colour photographs of an older woman but their real meaning lies beneath their appearance. It involves the bond between mother and daughter. What is revealed and what is concealed within a close familial relationship that spans a generation. In a more general sense, their meaning is concerned with the nature of womanhood as a distinct identity, and age and the process of ageing. It has to do with modesty and reality, with strength and wisdom but, above all, intimacy.

It is problematic to assert that Manchot has a strategy for her practice. Although there is a coherent development from one body of work to another that encompasses the social and the personal, Manchot’s real strength as an artist lies not in her ability to select and compose her subjects but, once selected, in being able to reveal within them an essential dimension that discloses their identity. Manchot’s skill at being able to establish an intimate relationship with her subject without neglecting a detached position creates a space in which the viewer can perceive for themselves the nature of the relationship between the artist and her subject. This is clearly demonstrated in her series Moscow Girls from 2004. These images (supported by sound narratives) are not about portraiture in an orthodox sense nor are they purely the depiction of anxiety or deprivation. They maintain an existential position but one tempered by Manchot’s sense of humanity as she establishes a link between artist and subject that is intimate but which observes their separate psychological space. Melanie Manchot, Objectivity and intimacy, separateness and closeness are qualities that underlie With Mountains 1 (2000), c-type print, 130cm x 135cm, Manchot’s practice. In her most recent work Shave the camera slowly turns on a courtesy FRED (London) Ltd. seated man who gradually has all his body hair removed from the waist up. Starting with electric clippers, a barber then slowly and painstakingly moves a cut-throat razor over the surface of the man’s body, lightly touching his #esh as he steadies his hand and runs the razor o$ the man’s skin. There is no threat involved. Occasionally the barber applies more soap with a shaving brush to the man’s torso. The image of a bowl on a separate monitor gradually !lls with the shaved body hair as the shaving brush is periodically cleaned. Association between the razor and the softness of the skin is underplayed, there is no exaggeration of the relationship between the two men. We, the viewers, and the artist voyeuristically watch this slow and intimate process. Manchot’s ability to clear away any obfuscation from her subject matter has resulted in works that have developed her capacity to transmit psychological insight through her imagery. How such perceptions are attained and subsequently manifested remains a mystery but is demonstrable in Melanie Manchot’s !lm and photography as she moves between the social and the personal.

David Thorp Melanie Manchot

Melanie Manchot, Shave (2007), two channel synchronised video for projection and monitor, 75min, dimensions variable, courtesy FRED (London) Ltd and Galerie m, Bochum. Installation photograph by Eric Jacobs. Melanie Manchot, Shave (2007), 75min, video stills, courtesy FRED (London) Ltd and Galerie m, Bochum. Stanza

Coded Behaviour: Biocities (2003) and Inner City (2002) are audio-visual, interactive, digital paintings. They form part of Stanza’s Amorphoscapes series (which he has been working on since 1997). Unlike existing web-based incarnations, these are limited-edition touch-screens which better demonstrate Stanza’s uncompromising ability to craft technology. These works are exquisitely executed. Aesthetically and technologically they are #awless, standing out vividly against a backdrop of new media art which can be clunky and ill-de!ned. Even to the untrained eye, or those uninitiated in new media arts, Stanza’s skills and outputs as an artist working with electronic technologies are apparent.

These works present two predominant devices to actively trace urban topographies. One is a seeping aesthetic, where blank screens are gradually #ooded with colour and texture which appears to perpetually map and re-map its terrain (as seen in Stanza, still from Biocities (2003), Biocities); it is American-Action-Painting-meets-London-Underground-cartography touch screen audio visual work with code, as the city is given life through visual veins and audio arteries. The other is a stamping dimensions variable. aesthetic where heavily-stylised city corners, crevices and conversational o$-cuts are sporadically overlaid causing a constant collaging (as in Inner City). Harder to characterise, this e$ect is something like a strobe in#icting O’Keefe’s eye for detail on a minimalist canvas. Such e$ects are heavily indebted to Modernism but no less impressive in their new media incarnation.

For me, what is most striking about these pieces – and indeed Stanza’s present work The Emergent City – is its reference to ritual, or socially-loaded, repetitive behaviour. The rituals I !nd implicit in these works are both urban and artistic. Each of the works amasses aural and aesthetic details which loosely depict a range of city-speci!c behaviour. However, and this is key, Stanza does not tell us what these behaviours are. He provides a montage of animate archaeological evidence which evoke the comings-and-goings of a city and its inhabitants. The e$ect is somewhat like sitting at a central hub of city activity and watching the constant ebb and #ow of people, trains or tra"c, feeling both integral and irrelevant as the movement occurs both because, but also in spite of your presence.

They also refer to the type of behaviours encoded in the ritual of art gallery attendance. They demand that the audience co-author not just their meaning, but also their audio-visual output, which requires a di$erent level of interactivity on the part of the audience. This is art about active not just intellectual engagement. This is art which does not exist without a willing participant. Yet having asked the audience to behave di$erently, Stanza immediately puts them at ease by o$ering these works as editioned objects which might well sit alongside paintings and perhaps discuss the aesthetic common- ground of paint and pixel. It seems Stanza intends to build a new relationship between artwork and audience, but not by reconstructing the physical architecture of art history which he leaves very much intact.

The art historian Dana Arnold claims that the architecture and associated activity of the art gallery generate “the cultural life of a society”(1). With these works Stanza provokes the participants in the ‘cultural life of society’ to reconstruct a range of naturalised urban behaviours whilst rebuilding not just a few of their ideas about art production and presentation.

(1) Dana Arnold, Art History: A Very Short Introduction, Oxford, Oxford University Press, 2004, p.56. Charlotte Frost Stanza, still from Biocities (2003), touch screen audio visual work with code, dimensions variable. Stanza

Stanza, Biocities (2003), touch screen audio visual interactive work with code (visualisation). Artist Biographies

Simon Faithfull (born 1966) graduated with an MA Fine Art from Reading University in 1996. He was the !rst visual artist to travel to the Antarctic on an ACE International Fellowship with the British Antarctic Survey (2004- 2005). Ice Blink, the resulting exhibition of this journey, was shown at Stills, Edinburgh; Cell, London; and Parker’s Box, New York, all in 2006. Recent exhibitions include Experiences Insulairs, Credac, Paris; Animated Stories, Le Fresnoy, France - both in 2007, and Anstoß Berlin, Haus am Waldsee, Berlin; Strangers With An Angelic Faces, Akbank Art Gallery, Istanbul - both in 2006. He spends his time between Berlin and London, where he lectures at the Slade School of Fine Art. Beate Gütschow (born 1970) studied at the School of Fine Arts, Hamburg and in Oslo, Norway. She was awarded the Otto Dix Prize for New Media in 2001 and the Ars Viva Prize in 2006. Gütschow currently lives and works in Berlin, and recently participated in the group exhibitions Made in Germany at the Kunstverein Hannover, Hannover, and in Reality Bites: Making Avant-garde Art in Post Wall Germany at the Mildred Lane Kemper Art Museum, Missouri, both in 2007. A forthcoming solo exhibition is due to be held this coming Fall at the Museum of Contemporary Photography, Chicago. Anne Hardy (born 1970) currently lives and works in London. She received an MA Photography from the Royal College of Art in 2000, and was the !rst recipient of a Laing Solo Award, Laing Art Gallery, Newcastle in 2004. Recent exhibitions have included Maureen Paley, London (solo) 2006, MERZ, at Magazin4, Bregenzer Kunstverien, Austria in 2006 and to be continued…/jaatku…, Helsinki Kunsthalle as part of the Finnish Photography Festival, in 2005. Her work has been included in Vitamin PH, Phaidon, 2006, and Charlotte Cotton’s The Photograph as Contemporary Art, Thames and Hudson, 2004. She is represented by Maureen Paley, London. Igloo was founded in 1995 by Ruth Gibson and Bruno Martelli. Igloo have shown extensively in Europe, USA, Australia and the UK. Ruth and Bruno invite artists from a range of disciplines to collaborate with them; thus their process is not tied to any one artistic medium and the content is expressed through multiple formats. They have won a string of accolades for their artwork including a NESTA award, a Royal Opera House commission and a BAFTA nomination. In 2006, they were Artists in Residence for the second year running at RMIT Melbourne, Australia. Igloo’s SwanQuake: the user’s manual - edited by Scott deLahunta and published by Liquid Press/ i-DAT (Plymouth University) will be released in Autumn 2007 and accompanied by artwork on PC format DVD. Ruth and Bruno live and work in London and France. Melanie Manchot (born 1966) lives and works in London and Berlin. She received an MFA in Photography from the Royal College of Art in 1992 and is the recipient of both Arts Council England and British Council Awards. Current exhibitions include Global Feminisms at The Brooklyn Museum, The Naked Portrait at The National Museum of Modern Art, Scotland, as well as solo gallery shows in New York, London, and Leipzig. Her work has been featured in Charlotte Cotton’s The Photograph as Contemporary Art, Thames and Hudson, 2004, and in Art Photography Now by Susan Bright, Thames and Hudson, 2006. Her monograph, Love is a stranger, was published by Prestel Verlag, München in 2001. She is currently developing a project with Film and Video Umbrella (UK) for which she will be producing her !rst !lm work. She is represented by FRED (London) Ltd, Go$ + Rosenthal, New York and Galerie m, Bochum. Stanza is a London based artist. Educated in !ne art, he was a NESTA Dreamtime Fellow in 2004-2005, and is the current recipient of an AHRC Creative Fellowship, 2006-2009, for his new work, The Emergent City. Stanza has exhibited extensively internationally over the last 20 years and has won awards from festivals such as Videoformes Multimedia First Prize, France, in 2005, and New Forms Net Art Prize, Canada, 2003. Recent exhibitions have been Code by Zero01, Canada, in 2005, and the touring exhibition, Net Reality, UK in 2006. New Forest Pavilion is an ArtSway international project partnered by the Arts Institute at Bournemouth and SCAN, funded by Arts Council England, the Arts and Humanities Research Council and Hampshire County Council and sponsored by Hallett Independent. ArtSway is regularly funded by Arts Council England, Hampshire County Council and New Forest District Council.

The Arts Institute at Bournemouth is a leading specialist higher educational institution, o$ering undergraduate and postgraduate degrees across a range of contemporary arts, design and media subjects. Its programme of text + work promotes dialogue between innovative contemporary art and design practice and its theoretical context. Two seminars will be held at the New Forest Pavilion. www.aib.ac.uk

Arts Council England is the national development agency for the arts in England, distributing public money from Government and the National Lottery. www.artscouncil.org.uk

The Arts and Humanities Research Council (AHRC) funds postgraduate training and research in the arts and humanities, from archeology and English literature to design and dance. The quality and range of research supported not only provides social and cultural bene!ts but also contributes to the economic success of the UK. For further information on the AHRC please visit: www.ahrc.ac.uk

ArtSway is a unique place in the UK’s New Forest National Park to see, discuss, make and engage with signi!cant contemporary visual art from the local to the international. A purpose-built and architecturally important gallery space, ArtSway hosts a changing programme of exhibitions and wide ranging creative opportunities for all. www.artsway.org.uk

Hallett Independent Specialist Art Insurance. With a passion for and in-depth knowledge of the arts, Hallett Independent can arrange cover for all areas of the international art world, along with a wealth of advice for all your insurance needs. Private & Corporate Collections, Travelling Exhibitions, Galleries, Dealers and Artists. www.hallettindependent.com

SCAN is the creative development agency for media art based in South East England. Commissioning innovative projects that allow artists and audiences to explore ideas, sites and tools which show the creative potential and opportunities that media arts o$er in our changing society, SCAN works in partnership with a broad range of individuals, groups and institutions. www.scansite.org

Further information about each of the exhibiting artists is available on the following web sites:

Simon Faithfull: www.simonfaithfull.org Beate Gütschow: www.produzentengalerie.com Anne Hardy: www.maureenpaley.co.uk Igloo: www.igloo.org.uk Melanie Manchot: www.fred-london.com Stanza: www.stanza.co.uk

ArtSway would like to thank the following individuals and organisations for their support of and contribution to the delivery of New Forest Pavilion: the artists and contributing writers; Stephanie James, Jim Hunter and Frances Naylor at the Arts Institute at Bournemouth; Helen Sloan of SCAN; Janet Mein and Jill Lovelock at Hampshire County Council; Louise Hallett and her team at Hallett Independent; Arts Council England and the Arts and Humanities Research Council.