Mat Chivers ‘When Words Become Form’ Nylon, Gesso, 23.5 carat gold leaf, Canadian black bole, beeswax, wood, 2008 ‘When Words Become Form’ references the nature in which sound can be perceived as form over time. A specific spoken phrase, captured digitally, has been re-configured as a 3 dimensional object. On a material level the work combines contemporary envisioning and fabrication processes such as CAD and rapid prototyping, and more traditional materials like gesso, gold leaf, black clay and beeswax. The work is a hybrid of quantifiable data and subjective interpretation, reflecting the fundamental dichotomy that exists between human understandings of the nature of perception and reality that have been arrived at through extremes of scientific and philosophical pursuit. This work is directly connected with a wider body of sculpture, installation, drawing and printmaking that looks at some of the moments of process and states of flux that exist below the surface of things, such as the way often unseen phenomena and events can occur over very different time and dimensional scales to our own yet ultimately exist in direct relationship with us. In the work, focus is placed at the location between data capture and its consequent interpretation. It is at this boundary that ambiguity often resides, potentially conflating notions of fact and fiction.
Rachel Gomme Knitting a Rothko In this cumulative performance, I knit to create a piece of fabric echoing a painting by Mark Rothko (while not attempting a reproduction of any particular painting). The textile is over 2 m wide, and it is envisaged that the finished piece will be of a similar size and shape to one of the original paintings. Much of the material is recycled yarn. The piece gradually grows through a series of durational performances; at the end of each the textile is hung with its unfinished edge trailing balls of yarn and suggesting its possible continuation down the wall. I am interested in how knitting can operate as a metaphor for time and space, the linear yarn knitted into a 3-dimensional fabric suggesting the relationship between chronological time and space. The repeated stitches are indicative of how small actions or tiny, almost unnoticed details gradually build into something larger; in knitting each individual action (stitch) used to make the fabric remains visible in the final piece. The continuity of the yarn nevertheless suggests how these details become part of a seamless whole. In making large-scale work or long-durational performance with knitting, I bring what has traditionally been a female domestic craft into the public arena, rendering the labour and repetitive nature of the work visible.
Hervé Constant Toy Gun, 2010 (still from 4 minutes DVD film, Killing, 2006) Digital Print 2010 ‘Killing’ was made after a very sad moment which happened in US when children were shot at and killed in a campus. It made a lot of noise from all range of societies to appeal for the return of the capital death. I was in Boston at the time 2002 doing an artist residency. The weather and the surroundings were great. I remember I was given a studio and at the time most unconsciously guns started to appear in drawings and paintings. Or maybe that was the result of my stay in Bosnia , Tuzla where in the late 90’s I witnessed some awful images. Anyhow, only later by 2006 that I thought I could produce an artist book and a film on the subject. The image of Toy Gun is an after thought of men thoughts given to a child. Behind the child play is the threatening gesture of the male posture. The book is questions if the capital punishment is necessary to resolve the killing and murder made by any misfits of our societies. I personally don’t think so. The roots have too many complexes.
Teresa Paiva Symbiotic Frames, 2009 2 video stills, digital colour prints of aprox . 55cm x 38cm (1 shown above) Symbiotic Frames video piece explores the threshold between body/landscape, the autonomous /interdependent body : images of symmetries and correspondences progressively involve the viewer in a chain of references like a mirrorâ€™s optical illusion. Depicting hybrid like forms (often between animal and vegetal worlds) they seem to spontaneously sprout from the screen plan . In Symbiotic frames forms are interdependent, stretching and testing boundaries thus extending through space and time. As stills images these pieces retain their original significance and allusions â€Ś However , the absence of continuous motion embedded by the video format, consequently enhances matter over movement : the still forms acquire a new gained materiality and solidity and become suspended in time and spaceâ€Ś on its own right.
Daniel Somerville My Egypt Stories, 2010 (still from video documentation of a live performance, My Egypt Stories, 2009) Digital print on canvas, 2010 The exhibited print is a still taken from video documentation of a performance called ‘My Egypt Stories’. I have processed the image digitally, printed on paper, rescanned, processed and printed again, but on canvas. The layering of processes, both digital and manual, and the resultant deterioration of the image all mirror the multi-layering of the original performance and speak to its dark shadowy atmosphere. The performance addresses the idea of a place (in this case Egypt) having many multiple meanings according to which viewpoint is given preference. My associations with Egypt, my experiences of Egypt over a number of visits, along with popular and high-cultural interpretations of Egyptian-ness were combined into a multi-media installation with several sound sources, music and voice-over and several screens, creating an immersive environment into which I introduced myself in a choreography which expressed an emotional quality of the combined influences. The choreography was created using a combination of interests, most prominently my practice as a Butoh (Japanese contemporary movement) artist and my then recent exposure to Bharatanatyam, the films of Satyagit Ray and rasa theory. My performance/choreography thereby sought to capture rasic flavor in order to engender a response from the audience rather than any kind of didactic message or linear narrative about Egypt. In attempting to capture the moment – and to sum up the overriding rasas – I searched the video documentation and found one still which I felt holds the correct measure of Soka (Sorrow), Bhaya (Terror), Vismaya (Astonishment) in the gesture, composition, colour and texture of the image/print. As an independent artwork, the print now says as much as the original performance, I feel, but through a concrete medium rather than through a time-based performance.
Yaron Lapid Dad and me taking each other after Mum died C-type Diptych/2008 The artist and his father photograph one another in the days of mourning after his motherâ€™s unexpected death. Jewish men do not shave for thirty days and the raw portraits of these two men, is shocking. Their naked torsos, the hair on their face and body, the flat gaze into the camera; all evoke a feeling of animal suffering. The sense of father and son having the same body type, their similarity and yet their age difference, evoke their common link to the woman that binds them and who is absent. Although the work is entitled after Father & Son, it is the strong presence of the unseen mother that dominates. -Julia Pascal
Helena Eflerova 3 Performance Stills And today not yet, 2010 Still image, A3 colour print, (shown on left) Trimester, 2009 Still image, A1 colour print, Underwater Live Performance and Video Installation, 2009 T-Land, 2010 Still image, A1 colour print
‘And today not yet’ (2010), 21 min live performance in front camera at the Live Symposium The Pigs of Today Are The Hams of Tomorrow. Commissioned by Performance Re-enactment Society and Plymouth Arts Centre. Performed by Helena Eflerova and photographed by Hugo Glendinning. The performance was re-enactment of the original performance by Stuart Brisley ‘And for today… nothing’ (1973) in London. Helen Eflerova performed and donated her memory to the Performance Reenactment Society. The image is exhibited at the Plymouth Art Centre as ‘Untitled 11’. ‘Trimester’ (2009), video installation with durational underwater performance presented through a glass screen (95x80cm). Audience is invited to stand close to he screen and maintain intimate contact with the body. I am representing the notion of first experiences in our life: ‘as living organism, foetus, human being, individual, foreigner, artist………………………………………’. ‘T-Land’ (2009) live performance 78 min in collaboration with DJ Jonty at the Mashup festival in A Space Gallery, University of Portsmouth. I am concerned with themes of home and origin, darker experience either of cultural trauma or the value of individual’s life. It symbolises the warm feeling of belonging, being enclosed and protected, but also being imprisoned and isolated.
Cinzia Cremona I to I digital photographic print, 2006 I to I consists of one large and five smaller photographic prints of two women dress according to two very different cultural canons. Clothes chosen for an evening out and for reason of faith, burden the two women with the responsibility and consequences of choosing visibility or invisibility. To produce these images, I worked closely with Shaida, a young woman who, out of her growing devotion, had just started to cover her face. We had long discussions about comfort, power, make-up and sisterhood. It is important that in the large print the two women are confidently walking towards the viewers and clearly seeking eye contact. Both women are beautiful and strong, and are active subjects. Nevertheless, the two representations do not seem equal. I to I extends an invitation to share a moment with two women with very different stories, who have become close to each other for a time, and are inviting you to take the responsibility to relate equally and freely to them. These are the same relational processes that activate my videoperformances â€“ direct address, eye contact, offer and call to relate. This practice is rooted in ethical considerations relevant to our complex contemporary lives, in which individuals with contradictory beliefs are forced into living in close proximity. These images freeze a positive moment of reciprocal acceptance and openness to others. They can be seen as the byproduct of an intervention in the urban environment â€“ a performative action with real consequences in the real world.
Nicola McCartney Alicia & Briony, 2010 (still from 5 minute DVD film, Alicia & Briony, 2007) Digital Print, 2010 Alicia & Briony is a revised print extracted from its video namesake, in which two women are seen embracing. Their faces are covered by each others hair, obscuring their identity and formulating a heart of two heads. Alicia and Briony were asked to hold the pose for the duration of 5 minutes. Documented by the artist, the piece becomes a performance of endurance and an ability to maintain any suggested intimacy over the course of time. At first reminiscent of Rodin’s Kiss, the couple’s slow recline during the 5 minutes ends in what looks like two figures weeping on each others shoulder. Alicia & Briony, 2010, is taken from the middle of the film so the viewer is deliberately left questioning the nature of the figures. The still has become a work in its own right because it frees Alicia and Briony from a sense of time, dialogue or sequence of movement, yet its production process emulates initial photography, where the sitter had to ‘still’ for hours in order to get the ‘right shot’. The resulting highly staged, anonymous and stationary relationship captures a single moment, where their isolation ironically frees them and the viewer from the given context of a moving piece, encouraging us to fill in the gaps of a narrative, of which the possibilities are infinite.
Sebastian Edge Black and white contact print A recent portrait of the Film maker Andrew Kotting with his daughter Eden. The work was made as a prelude to a peice of work and collaboration I will be working on with him at la Rochelle film festival this year. The Black and white contact print, taken using my 18x22â€? wet collodion plate camera, means that he stood for an exposure of nearly 4 minutes. a clock was held in the background by a young nephew of his. A Very Wet and Windy day in St Leonards on Sea The day was windy the sea was high, the studio too dark, on the beach the camera might fly, so to St Leonards we drove, to a glass house we found, lunch was served, whilst Andrew and Eden Kotting they froze! Frozen they were, whilst time seemed to sway, five minutes they stayed, the plate very nearly dried away! the iron sulphate acidic mix, with sweet sugar and fix, brings an image to, as the final mix. five minutes they stayed, and how very little they swayed, on this fine wet and windy of days. By Sebastian Edge
Cos Ahmet ‘my shadow sits and waits for me’ (Triptych) 2008 Triptych comprising of ‘my shadow sits and waits for me I, III & X’ Multi-plate photo-etchings and aquatint on Somerset paper From the ‘Masked’ Series created for his One-Man Exhibition ‘my shadow sits and waits for me’ 2008 ‘my shadow sits and waits for me’, presented here by the artist as a triptych, are taken from his ‘Masked’ series of etchings which re-visits a collaborative film performance piece ‘Under My Skin’ (1997), that represented the struggle with his sexuality and identity, translated through the medium of mask, dance and mime. ‘my shadow sits and waits for me’ acknowledges the artist’s darker counterpart, his personal unconscious. After crossing paths with his shadow through issues surrounding a development of rejection being a direct result of an ongoing conflict between his sexual identity and his cultural background, this led to the creation of a new body of work for his One-Man exhibition in 2008, where this concept of ‘shadow’ became his new manifesto, questioning, exploring and confronting his inseparable and constant companion. This series of etchings are set out as a ’tableau’ from a sequence of layered dialogue. The masked figure was born out of photographic experiments made in the artist’s studio. The ambiguous figure, wears a mask for a head, the same mask made and worn in ‘Under My Skin’ (1997). It possesses this young, naive mindset of a past self (the artist), placed upon the shoulders of an older, wiser self, giving a mysterious yet compelling authority, almost smug in its ego. There is a consultation or exchange being made between the mask’s current and previous states of mind, and in its new situation is confronting his darkness and his light. Where ‘Under My Skin’ (1997) approached the struggles of sexual identity expressed through mask and movement, ‘my shadow sits and waits for me’ (2008) examines a similar struggle in a different capacity; the imagery is still, anchored, quiet and more considered and mature. Yet, the obscurity and sheer darkness is much greater and deeper in it’s layers of dialogue, resulting in a ‘physical collage’ of narratives full of unexplored parables that the artist has yet to address, and leaves the viewer to contemplate and question their own shadows.
Daniel Belasco Rogers & Sophia New / plan b Three year Drawing, Berlin, 2007-2009, Sophia New/ plan b Three year Drawing, Berlin, 2007-2009, Daniel Belasco Rogers/plan b The artists Sophia New and Daniel Belasco Rogers (who work together under the name plan b) constantly record all of their journeys using GPSs. The two drawings here document everywhere they went in Berlin (where they live) between the years 2007-2009, they show two lives that are intrinsically linked yet are separate. This daily practise requires making sure they have enough batteries, downloading the data periodically before it is overwritten and producing maps and visualisations of everywhere they go. Daily repeated journeys become main arteries that define how and where they are living: a thick, reiterated street, due to GPS imprecision, bleeds out of the width of the actual street that it traces. The thin, one-line marks attest to unique and memorable journeys to new territory in a familiar city.
Arantxa Echarte Summer 2008, 2007-09 (Extract from a two year durational performance 2007-09) Installation (detail shown under), 2010 Summer 2008 is an extract from a two-year durational piece developed between October 2007 and October 2009. The performance had the aim of researching issues of temporality, reality and fiction, auto/biography, documents and documentation, and traces of performance. Summer 2008 represents a period of time and it is the portrayal of a lived life. The piece is activated by the viewer who reconstructs the history of the protagonist through his/her own interpretation therefore blurring the boundary between reality and fiction. Furthermore, Summer 2008 encourages the viewer to think about his/her own existence and life hence the work becoming the relation to self, mediated by the relation to â€˜the otherâ€™.
Ella Golt Bulging Bulbous Bogus Bags 12345 Inkjet print, 21 cm x 29.7 cm Bulging Bulbous Bogus Bag Mixed media, 25 cm x 30 cm approx ‘Bulging Bulbous Bogus Bags 12345’ comes from a performance video that exaggerates the actions of carrying and lifting heavy shopping bags. The bags transform the body and create absurd shapes and images, the everyday ritual has been distorted and removed from its original context, the bags have been remade out of purple cotton, and the stills from the video have been transformed into an image that references text book diagrams. The use of the numbers adds a sense of authority and creates another layer to the way the work is read. An accompanying piece which has derived from the same work, is ‘Bulging Bulbous Bogus Bag’ where visitors can imagine the weight and content. The bag hangs on a small hook and in theory could be picked up at any time. The shopping bag becomes the performance object. I enjoy playfully subverting materials and references.The use of the familiar and everyday life allows me to break the familiar’s usual intent so as to intrigue and invite people into the world I’ve created. Taking inspiration from 20 years of performing with a circus, my work takes the form of performance videos and photos.
Wiracha Daochai Monk’s Tug-of-War, 2010 Sculpture (Robe of a Buddhist monk, Jeans, Shirt, Stainless poles) This piece holds the time of ancient Buddhism and of timeless inner battle in modern art form. Visual images of a performance would appear in the audiences’ minds as soon as they see the object, even though there is no performer. The tug-of-war has been playing in our minds in different contexts. Especially, a young monk who has to try to overcome the forbidden secular matters
Peter Nutley minutes silence, 1500 laserjet prints on 50gsm Bank paper. Original moving image work: minutes silence digital video, duration 60 seconds. minutes silence was recorded at the Sachsenhausen concentration camp near Berlin. A one minute hand-held digital video with ambient sound, the is unedited, contains no titles or credit sequence and is shown on a loop separated by one minute of blank screen with no sound. The piece exhibited consists of every single frame of the one-minute digital video printed onto 50gsm bank paper using economy print settings. The resulting 1500+ LaserJet prints consist of every piece of paper produced by the printer including the prints that stuck in the printer or are faded due to diminishing toner. As such the piece not only makes the one minute of time a physical mass it also serves to extend it beyond the original 1500 still images. Due to the hand held nature of the video every frame is slightly different. The work is extremely delicate due to the lightweight paper used and the inclusion of damaged prints containing unfixed toner.
Laura Davidson Scrolls, 2008 Charcoal on paper The roll of paper retains a carbon memory of a previous movement, where the body has shifted back and forth in somatic actions. The marks themselves are measures of something, but of what the interpreter cannot define. They propose an incalculable geography, an ancient place described by the Greeks as Chora. The Chora is an inscribing space, an event preceding the semiotic systems, a receptacle beating a rhythm; dancing across the paper.
Air Images Live-Image Constructions Interventions,2010 (Schematic working drawing sample under) Air Images are a collaborative project that invite the audience to both observe and make the work. In fact, audience participation is an integral part of the work, they choose the direction that the performances take, a brave task for Air Images giving up an amount of control to the hands of their viewers. Air Images create theatrical images and tableaux vivants influenced by a background in theatre and fashion but rather than attempting to capture a single moment in a photograph, they create a live event in which change and experimentation is supported and developed. For this exhibition Air Images attempts to â€˜playâ€™ with visitors coming to the centre on the weekend and produce a documentation of their unique moments. This documentation will become part of the exhibition in the gallery space of the centre and will be made accessible for participants as well as observers and visitors.
Elaine Louise Arkell And Tim Flitcroft ‘The Ghost of Presence Past-Fall Free’ Large paper with frottage drawing For Halloween 2007, both Tim and I made work for the verger’s cottage at Hackney Wick, site of The Residence Gallery. The show was Spectre vs Rector and ran until December 1st. Tim made a time based piece. He slept in he cottage overnight, huddled on the cold stone floor, surrounded by the Art. He made a trace of his overnight presence with silver gaffer tape. An infra red camera recorded his prone restless figure, only it didn’t. Frustrated Tim spoke to me about it, the show finished, the work was being removed. I was going a day or so later to collect mine. I offered to document his work using frottage, a process I have used since a trip to Barcelona in1997 to make time specific drawings. The space had been completely blacked out for the show and there was no power to speak of when I arrived with a 5ft square roll of Fabriano paper. Around me other artists were coming and going, some camcording, busy. Tim’s trace was curved into the shelter of corner opposite the now redundant cold fireplace. Poised, in the middle of the Fabriano, in near darkness, I made a tactile journey to the documentary image. Around me the Camcorderers captured the process, but neither Tim nor I have ever seen the footage, as far as we are concerned only this one piece of paper remains. Important, for Tim was that the documentation would not alter the intention of his work, that it would become decorative. I assured him that be what he would get from the frottage process. There in lies the quality of frottage as a documentary process that yes, it does in a sense make a new piece of art, but still holds the essential aura of the work that it documents. Hence the need to title the piece of Fabriano paper marked with the trace of Tim’s performance. I titled it ‘The Ghost of Presence Past’ and Tim gave it the title of his piece, ‘Fall Free’. The vergers cottage and this site of the Residence Gallery are no more, this fragment remains a map of ghost of presences past. Central St Martins Charing Cross Road site is being closed and the contents moved on to pastures new. Tim and I have returned to use frottage to document as piece of work he installed some years ago and has remained untouched since he graduated 2002.
Beatrice Jarvis Lingering Nuance - A visual documentation of the movements of the everyday spectacular. Book and allied objects What is left when the place ballet reaches stillness? What lingers when the city plaza has emptied for the solace of the midnight hour? What trace can be found in the crevasses of the theatre when the stage has been vacated? Through an image and text based book; this exploration details how performance interventions linger upon the city. Reflecting upon urban spaces and performance spaces; this piece explores how the legacy of site specific performance impresses upon the city. Using the concept of performance as loose ideological term for the everyday interactions, social manifestations and ebbs and flows of urban populations; this piece explores how far the impression of movement in urban space can be captured and archived through photography and the extent to which such an archive can generate solutions towards new creative working methodologies within town planning practices. This work has been generated from drifts, interventions and walks through cities ranging from London and its suburbs to Berlin, Venice and Belfast. This piece explores how far documentation of everyday movement can evoke the spectacular, providing critique and exploration as to how far observation can become a seminal tool to investigate and regenerate urban spaces. â€˜The everyday is always unrealized in its very actualization which no event, however important or however insignificant, can ever produce. Nothing happens, this is the everyday.â€™ (Blanchot. M. ( 1962) Everyday Speech.)
Darshana Vora Movement 2 and Movement 3, 1997 Photographic documentation of site-specific intervention (detail) Sizes and format variable, specific to installation. Movement 1,2 and 3 were site specific interventions in public spaces, and heritage sites in Bomb ay India. These were done for 1-3 hrs on weekends at heritage sites with a view to visually stimulate spaces regularly use by the local people, and also as a challenge to conventional white cube gallery spaces. The works are architectonic, and were deliberately placed for persons to engage with. Movement 2, site-specific installation, banganga, 1997 32 jars, newspaper text, brown paper bags, photocopies, etc ‘Movement 2′ was set up at Banganga, a temple site with a water tank. This is a heritage site, and is used as setting for classical music and dance performances. In the day, the water tank is used for the purpose of rituals and in the evenings, as a swimming pool by the local residents. Movement 3, site-specific installation, bandra bandstand, 1997 32 jars, newspaper text, brown paper bags, photocopies, etc ‘Movement 3′ was sited at Bandra Bandstand, a land’s end, of sorts, on which is a dilapidated castle. This site too is used for performances occasionally and frequented in the evenings by the local people. The jars were placed irregularly on the rocky terrain, and were left to discover, as one climbed up the terrain.
Sam Holden Dialogue (detail above) The portrait is a trialogue of subjectivities: The photographer, subject and viewer’s voices all audible to differing degrees depending on their desire to be heard. With ‘Dialogue’ I have removed the photographer from the portraitic trialogue; leaving the subject and viewer in direct conversation. After entering the studio and being positioned in front of the camera, sitters are given the following information: “Using image-capture software the camera is going to photograph you every 5 seconds for next half an hour. The resulting 361 images will be displayed unedited and in chronological order. The first photograph will be taken in 20 seconds time”. At this point I leave the studio. By relinquishing my control over the shutters point of release and the editing of the resultant images, the sitter alone speaks to theviewer; in words of their own choosing. Despite being presented chronologically, from the top left corner to the bottom right,there is no hierarchy or designated starting point for the viewer. They are free to move at random from frame to frame, collecting whichever images catch their eye, garnering information accordingly. As well as examining the conflicts present in a portraits creation, each image works on a more traditional level; through the subjects response to the photographic situation the viewer is given an insight into the personality of the sitter and their relationship with their own self-image and it’s reproduction.
David Theobald Office, 2009 (triptych of three images from the 7 minute DVD loop, Office, 2007) Digital Print, perspex face mounted on aluminium, 2009 Office is a series of 3 high defintion images taken from a digitally animated video loop of the same name. Each image represents a floor in an office building as seen from an elevator that silently moves up and down through the corporate structure. The floors featured in this particular triptych - administration, reception and the canteen offer a snapshot of the corporation as might be experienced by a specific employee as they arrive, work, eat, work and then leave.
Bill Leslie Creature Feature, 2010 Giclee digital print on art paper 44”x18” Creature Feature is a tryptich of images from an ongoing sculpture and photography series. The aesthetics and concepts underpinning this project have come in part from an investigation of the techniques of set and prop making used in low budget sci-fi movies of the 1950’s. Because of the relatively low quality of film stock, set and props did not have to be incredibly detailed or convincing in themselves. When filmed what may otherwise have been laughably lo-fi constructions take on a new reality and effectiveness. The images produced by this complicity of object and film are a product of this self-same process. The images are elevated, enlarged, brought to life; they become something quite other to their original. These images exist alongside film, video and performance work in which the artist makes, arranges and animates objects in front of a camera. In this respect, these images operate something like screenshots: stills from movie scenes which are not frames from the actual film but recreations, on set, of scenes for a large format stills camera. Far from being secondary to the ‘real’ work on film these images operate as a body of work in their own right. They extend and enrich the conceptual and visual imagery of the artist’s films and offer a different context for viewers’ engagement. The high-definition of the still image also present the objects in new terms: the textures and forms of the models are confused in scale by the image. Their size is uncertain and the surface textures and forms, enlarged, create an uncanny effect, difficult to assimilate easily into the viewers visual expectations.
Tory Smith ‘Grandma’, 2008 Series of 7 Digital Prints ‘Grandma’ is a photographic project that focuses on intimate details concerning the subject’s dwellings three years after her death. Through the vestige traces of nicotine and mess embedded within the unlived house, the images become portraits of the woman whom we cannot see. It’s only through the abstract spaces in which she exists and the objects she possessed, that we can start building a picture of her and relate our own experiences to describe memories connected to a lose of a beloved.
Airimages Collective Bettina John, Jaime Leme & Sebastien Freuler firstname.lastname@example.org www.airimages.org Arantxa Echarte email@example.com Beatrice Jarvis firstname.lastname@example.org beatricejarvis.wordpress.com
Laura Davidson email@example.com firstname.lastname@example.org Mat Chivers email@example.com Nicola Mccartney firstname.lastname@example.org Peter Nutley email@example.com
Bill Leslie firstname.lastname@example.org
Rachel Gomme email@example.com
Cinzia Cremona firstname.lastname@example.org openvisions.org
Sam Holden email@example.com
Cos Ahmet firstname.lastname@example.org Daniel Belasco Rogers & Sophia New email@example.com Daniel Somerville firstname.lastname@example.org Darshana Vora email@example.com darshanavora.wordpress.com David Theobald firstname.lastname@example.org Elaine Louise Arkell And Tim Flitcroft email@example.com firstname.lastname@example.org Ella Golt email@example.com www.eflerovah.com Helena Eflerovรก EflerovaH@seznam.cz Herve Constant firstname.lastname@example.org
Sebastian Edge email@example.com Tory Smith firstname.lastname@example.org Wiracha Daochai email@example.com Yaron Lapid firstname.lastname@example.org Teresa Paiva email@example.com www.teresapaiva.com
Arantxa Echarte Currently a PhD Student at UWE, Bristol, England. Recent exhibitions / performances: 2009 Coordinator and curator of the ViceVersa collaborative project, Bristol v Groningen En:countering collaborative Residency project in Breda, Holland. Curator and artist of Crossroads 2 exhibition at the University of the West of England, Bristol, England 2008 Curator and artist of Crossroads exhibition at MAMU gallery, Budapest, Hungary Lives and works in Bristol Beatrice Jarvis First Class Degree in Choreography and Visual Arts BA (Hons) Dartington College of Arts Curatorial , co-curational and creative projects: Jerwood space; Un:place; June 3rd to July 20th 09: an exhibition of exploration of culture and space, creating the potential for a personal regeneration through refreshed perception and creativity through non traditional cartographic methods. Bow Road; Tour de Bord; May 15th 09: distant windows of tradition. Lives and works in London Air Images Collective Bettina John MA Image and Communication, Goldsmiths University, London, 2009 Recent exhibitions / performances: 2010 ‘Adult Learning Festival‘ programme, Blank Gallery, Brighton 2009 “Sawmill-project‘s performance nights Homo-Ludens“, Area10, Peckham “Interactive Photo-studio-Lab“, Free Range Degree Show, Brick Lane “Interactive Photo-studio-Lab“ “The media is the message” Goldsmiths Gallery, London Lives and works in London Bill Leslie MA Visual Performance, Dartington College of Arts, 2008 Recent exhibitions / performances: 2009 Materiality or Immateriality, what’s it gonna be punk? Arnolfini, Bristol Sideshow Showroom, 2nd Birthday Festival Bournemouth The Tomorrow People, Elevator Gallery, London WHIPPIT 5, Hackney Wicked Festival, London Lives and works in London
Cinzia Cremona Currently doing a PhD in practice-based Art, University of Westminster, London Recent exhibitions: 2010 Interrupted … Field Recordings, Five Years Gallery, London 2009 With Love? From Me to You, James Taylor Gallery, London Speedy Gonzales, Oubliette Arthouse, London Lives and works in London Cos Ahmet Post Graduate Public Art & Project Management, Barnet College, 1997-1999 Recent exhibitions: 2010 ‘BODYLOGUES’ at Lauderdale House, Highgate, London 2009 ‘Weaving Within’ Stirling Smith Art Gallery & Stirling Castle, Stirling, Scotland ‘Drench/Absorb’, Oblong Gallery, London ‘Pride in The House 2009’, Lauderdale House, London 2008 ‘my shadow sits and waits for me’ Waterloo Gallery, London ‘Nine Printmakers’ , Riverside Studios, London Lives and works in London Daniel Belasco Rogers and Sophia New BA (Hons) Three Dimensional Design (Theatre), Nottingham Trent Polytechnic, 1986 89 MA Feminist Performance, The University of Bristol, 1997-1999 Recent exhibitions: 2009 Into the Light of the Night, Kortrijk, Belgium A Bicycle Made for You, Berliner Luft Festival, Copenhagen, Denmark 2008 Recoded: Landscapes and Politics of New Media, Peacock Visual Arts, Aberdeen, Scotland Das Verortete Verlangen, Arttransponder, Berlin Aquamediale 4, Lübben (Spreewald), Brandenburg, Germany Lives and works in Berlin and London Daniel Somerville MA Performance Making, Goldsmiths, University of London 2008-2009 Recent performances / exhibitions: 2010 First Piano Concerto, Tristan Bates Theatre, London 2009
PhOPS-i, Act Art 7, London way of tea – art of conviviality, an 8 project, Kube, Poole Lives and works in London Darshana Vora BArch, Sir J J College of Architecture, Mumbai, India Recent exhibitions/participations: 2010 Aicon Gallery, NY Friday Night shorts at TAP,Southend, UK 2009 The Other (Indian) Story, Mumbai, India Lives and works in London David Theobald Goldsmiths College, MFA Art Practice (Fine Art) 2006 - 08 Recent exhibitions: 2009 Baggage Reclaim, Prussian Projekte, Nottingham Celeste Prize 2009, Alte AEG Fabik, Berlin COE 2009, Claremorris, Ireland Modern Times, Vegas Gallery, London Lives and works in London Ella Golt MFA Sculpture Slade School of Fine Art, 2007-9 Recent exhibitions: 2009 Degree Show (MFA) Slade 2008 ‘Roof Show’ Punderson Gardens Bethnal Green ‘End of the Line’ Newlyn Exchange Penzance Kurt Schwitters residential Cumbria Lives and works in London Elaine Louise Arkell BA Fine Art, Central St Martin’s College of Art and Design, 1998-2003 Recent exhibitions: 2010 ‘Be Careful What You Wish For’ window exhibition, Space Station 65, Peckham 2009 CARPE DIEM VIII Salón de Arte Digital de Maracaibo ‘Fagged Out’, installation in the Spootje Community Centre Smoking Room, Leiden Lives and works in London
Helena Eflerova MA Fine Art Winchester School of Art 2007-2009 Recent performances / exhibitions: 2010 ‘Gap in Mind’ Physical Theatre performance, St Vincent Community Centre, London Untitled Stills Re-enactment society, Plymouth Arts Centre 2009 Trimester film installation Space CCI Gallery, Portsmouth University ‘Kiss Me Miss Me’ Festival, T-Land Performance, Rag Factory Brick Lane, London Lives and works in Soton, Hampshire Herve Constant Ecole Nationale Superieur des Arts et Technique du Theatre in Paris, 1971-73 Recent exhibitions: 2009 Ghost Print Gallery Richmond Virginia USA ‘Paper Politics’ Aug ‘A Spires Embers’ Mystelskyi Arsenal Kiev Ukraine presented by A.Nankervis Sept Kings Place, London Projection of paintings during the event Rimbaud & Verlaine’ Poet in the City 2007 Barbican Film cinema 1 Between Two Worlds July Lives and works in London Laura Davidson MA Fine Art, Middlesex University, 2006 – 2008 Recent exhibitions: 2009 Du.ra.tion, HOUSE Gallery, London Windows Festival, Residence, Belfast Lives and works in London Mat Chivers B.A.(Hons) Fine Art, Sculpture, The Nottingham Trent University (1993-6) ERASMUS, Escuela des Belles Artes, Barcelona, Spain Recent exhibitions: 2009 ‘Outbreath’, collaboration with research scientists, Bristol University ‘Secret, Royal College of Art, London ‘ECO 2009’, Exeter Contemporary Open, Phoenix Gallery, Exeter Lives and works in Bristol Nicola McCartney Christ Church, University of Oxford, M.St. History of Art and Visual Culture 2008 Recent exhibitions:
2010 Open Arts Café, London 2008 An Exhibition by Nicola McCartney; The Stables Gallery, London Lives and works in London Peter Nutley MA Fine Art (Media), Slade School of Fine Art, London 2008 Recent exhibitions: 2009 ‘The neutrality of this section is disputed’–part of ReMap2,Giatrakou 28, Athens, Greece ‘After the Curtain Falls’ – Wolstenholme Project, Liverpool 2008 ‘Illuminations’ – Interval, Manchester ‘Taenu’ – tactileBOSCH Studio, Cardiff Lives and works in London Rachel Gomme Professional Diploma in Dance Studies, Laban Centre for Movement and Dance, 19951997 Recent exhibitions / performances: 2009 Sly Fox (Uncertainty Principle): commissioned for Home Delivery, Oxford Knitted Month: cumulative performance and textile UnKnitting: Challenging Textile Traditions: The Rubin Center for Visual Arts, El Paso, Texas; Houston Center for Contemporary Craft, Texas 2008 Suspend: commissioned for Up the Wall, Chester Lives and works in London Sam Holden Masters Degree in Photography, London College of Communication (UAL), London. Recent exhibitions: 2010 The Triumph of Failure Noam Gallery, Seoul, S.Korea 6th London Short Film Festival, London 2009 16th Sheffield International Documentary Festival, Sheffield, UK Outcasting, Season 9, Cardiff, Wales Lives and works in London Sebastian Edge MA Artist Film Video and Photography UCA Maidstone 2007-09 Recent exhibitions: 2009 5-9, The Powerhub Maidstone In the Loop, Maidstone Library Flow, The Powerhub Maidstone 2008 Mine Show,The Crypt Gallery, Euston London Lives and works in Maidstone, Kent
Teresa Paiva Artsplan -Middlesex University, 2007 BA in Sculpture with Video Art and Ceramics, Fine Arts University- FBAUP – Porto Portugal, 2000-1996 Recent exhibitions: 2010 Chelsea Gallery – site-specific art project with local young people 2009 Artery Arts Project, Foundling Museum Artery Arts Project, Big Draw 09 - Stokwell Community Resource Centre ‘Unity’, RBKC -Earls Court Youth Club – London Lives and works in London Tory Smith BA (Hons) Photography, The Arts Institute Bournemouth, 2009 Recent exhibitions: 2009 Pause, Photography exhibtion, The Space, Gloucestershire Graduate Photography show, The Arts Institute Bournemouth Floris, Arts Pavillion, Mile End, London AOP Student Awards, AOP Gallery, London Lives and works in London Wiracha Daochai Currently studying MA Performance Making, Department of Drama, Goldsmiths, University of London, UK Recent exhibitions / performances: 2010 Yellow, Bristol’s Live Open Platform, Arnolfini, Bristol, UK Welcome to My Funeral, Midnight Matinees, Tristan Bates Theatre, London, UK Red Bomb, Satellite, Nottingham Contemporary, Nottingham, UK Host in 4D - a tea ceremony by Ajaykumar and 8-technology, Goldsmiths, London, UK Living Buddha Sculpture, Sabai Sabai Project, Department21, Royal College of Art, London, UK Lives and works in London Yaron Lapid MFA Fine Arts, Goldsmiths College (University of London) Department of Visual Arts (video / documentary), 2005-07 Recent exhibitions: 2010 “I am Keeping an Eye on You” Center for Contemporary Arts, Santa Fe, US Print Now, BearSpace, London, following London Art Fair 2010 The New Zero, Bath Spa University Gallery, Weston-super-Mare, UK The Market Estate Project, London, UK
Published on Apr 6, 2010
An exhibiiton of 25 artists who work in moving image and time-based formats, having a 'still'/object based parallel practice.