LIVE: Work from the Collections #5

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05.09.2015 - 10.09.2015


Private View: Friday 4th September 6pm - 9pm Saturday 5 September Sunday 6 September Monday 7 September Tuesday 8 September Wednesday 9 September Thursday 10 September

11am - 5pm 11am - 5pm 10am - 8pm 10am - 8pm 10am - 8pm 10am - 8pm

CHELSEA space and Cookhouse Chelsea College of Arts 16 John Islip Street, London SW1P 4JU For information about events related to the exhibition please visit:

S T N E T CON 1 Yang Chen 2 Haijiao Song

Stanley Kubrick Archive

3 Kittima Chareeprasit

Erick Benjamins / Pati Petrykowska / Panatchakorn Viratmalee / Hutsuma Juntaratana / Chris Eimeamkamol / Panlert / TingTing Cheng / Shuang Luo

4 Yang Yang

Xu Bing, Lawrence Weiner

5 Gabriel Loy and Sophie Pradere 6 Bryony Wright Lucy Brickwood

7 DaEun Back David Batchelor

8 Gabriel Loy Richard Evans

9 Monica Norse (Antonova) Alfredo Jaar

10 Anastasia Papaonisiforou Gary Woodley

11 Cherie Silver & Binnaz Gül Yeter Lyndall Phelps Sachiko Kodama Ayşegül Turan

12 Sophie Pradere Peter Saville

D D I I B V O A S D R O . T A r C E D IR D E S R U O C Taste, touch, smell, sight, hearing and understanding – a curator needs to work with the whole of the human sensorium. Such was the starting point in the discussions that led to the development of the course MA Curating & Collections. It is not a new course but rather a fresh adaptation of something we already knew, perhaps all too well. Like many known things, the course benefitted from a new impetus, which was provided by a more focussed take on curating in the context of collections. Working with archives and collections, such as the Chelsea Special Collections, the Camberwell Collection and the Jocelyn Herbert Archive at the National Theatre, allowed us to bring our attention back to objects. Materiality, density, opacity, texture and weight – the properties of the artefacts we handled were literally weighed up in our engagements with them. By returning to objects, we restored an equilibrium to a profession that had too often become overwhelmed by abstraction, overburdened by concepts, and bloated by inflated ideas. Touching the ground, we realigned objects alongside concepts, experience as well as abstraction, curating and collections. Seeing artworks alongside one another in collections displays and exhibitions, in archives and in stores, has enabled all those associated with the course to reassert the poetry of objects. Our skills add meaning and value to a whole range of artefacts, whether they are held in collections or dispersed more widely across the globe. In respect of such materials, we underline the sensitivity of all the human senses needed for their enjoyment and their care. I hope you enjoy the LIVE show in the fullness of the spirit in which it is meant – a lived experience encompassing the breadth of our perception. Dr. David Dibosa Course Director MA in Curating & Collections Chelsea College of Arts (CCW), University of the Arts, London





‘Life is a circle. Live, die, then reborn.’

The Reborn: Experiencing Ancient Chinese Commercial Signets display reproduces the signet patterns from the original scroll into LIVE (through the stamps), providing the opportunity for visitors to stamp every signet. The stamps are dispersed amongst the two exhibition spaces (CHELSEA space and Cookhouse), and visitors can use the unique brochure to collect them. Many traditional handicrafts in China are gradually disappearing. Ancient Chinese commercial signets are part of traditional handicrafts that have nearly vanished, but their positive cultural values of ‘integrity’ and ‘originality’ should be preserved and noticed. ‘Integrity’ refers to important ethical values upheld in ancient Chinese tradition and promoted as a daily reminder for traders in the culture of commercial signets, demonstrating each merchant’s honesty and trading integrity. The ancient Chinese commercial signet is a type of seal which is usually stamped on receipts or contracts of commercial premises or banks as an anti-fraud device. Some of the patterns on the signets represent the brand reputation of certain stores, which have been incorporated into contemporary trademarks. Due to the fragile wooden materials, the only signats in existence today were primarily made during the 16th to 19th centuries. Commercial signets were used by shops to signify three main functions: identification, differentiation and distinction, which were achieved through delicate handmade patterns. These patterns all contain the best examples of the successful commercial trade.


19 pieces of copied ancient Chinese commercial signet stamps (2015)


The scroll of stamped ancient Chinese commercial signet patterns (2013)




Stanley Kubrick Archive Digital presentation of 15 photographs

When we talk about films, we always use the present tense; they could be live anywhere at anytime as long as there is a spectator - and this can also be applied in life. Among film directors of the 20th century, Kubrick had a particular focus on spectatorship; his early career as a photojournalist had a fundamental influence on his perspective on film. The photographs chosen for this exhibition, present and relive the ordinary life scenes in the past, which were taken by Stanley Kubrick during 1947-50 for the Look magazine.






The Book of Live is an artists’ book that explores the term, definition and meaning of the word Live. Seven artists were selected: Erick Benjamins, Pati Petrykowska, Panatchakorn Viratmalee, Hutsuma Juntaratana, Chris Eimeamkamol, Panlert, TingTing Cheng. Each artist was allocated 8 pages within an A5 book, additionally one artist, Pisitakun Kuntalang, was commissioned to design the cover. The book was published by CHELSEA space in an edition of 150 copies. The work will be on sale for £10 per copy during the exhibition and at alternative art book shops. The Book of Live demonstrates critical research on the utilisation of artists’ books in contemporary art curating: artwork to exhibition.




This display focuses on perceptions of text-based conceptual art. The aim of this display within LIVE is to confront the viewer with varied attempts at challenging or reinterpreting the tradition of art through the manipulating of language. It will encourage discussion related to the Chinese “pseudo-calligraphy” made by conceptual artist Xu Bing in 1980s, which was a very important period of time for the emergence of Chinese contemporary art. In terms of showing Lawrence Weiner’s text-based conceptual art along with Chinese contemporary calligraphy, a question of how to approach these texts with a conceptual perspective will be open to exploration.


Tianshu: Passages in the Making of a Book (2012) Xu Bing Artists’ book, 27 x 16.5 cm 4b Something to Put Something On (2008) Lawrence Weiner Artists’ book, 21.5 x 25 cm


LUCY BRICKWOOD Kimono (2015) Kimono, Indian silk

Along the wall of the ramp in CHELSEA space is a kimono. The kimono is green and purple with a traditional Indian paisley print, and is 100% silk made from recycled Indian sari’s. The designer of this garment is Lucy Brickwood. Brickwood, who studied fashion design leading her to train in tailoring on London’s Saville Row, created her own brand ‘Violet Elizabeth’ in which she designs unique kimono’s and loungewear from recycled sari silk, each piece being completely unique. The money earned from the sale of the sari silks contributes to community projects in India. All the pieces are handmade by Brickwood in her studio in Kent, this includes the pattern pieces as well as the final garments. Her designs are sold at high end markets, mainly Spitalfields Market in East London. Displaying this kimono, the audience is able to see the construction and appreciate the time and effort put into making this garment and to realise that through recyling the fabric has a chance for another life.

‘You can see that it’s had a life of its own, and then you’re letting it do something now.’ (Lucy Brickwood)

The display Living Creature shows David Batchelor’s (b.1955) Electric Colour Picture (2002) in CHELSEA space. This is the first time that this piece will be loaned from the Chelsea Special Collections and displayed in CHELSEA space.The display explores how industrial debris can live in the exhibition space as seen in the exhibited work, Electric Colour Picture. In his work Batchelor uses salvaged debris, such as trolleys, shelving units and factory scraps. He transforms them into artworks and gives them new life. The artwork is presented as a living creature; electricity feeds it from the plug in the wall and it is live when switched on.

DAVID BATCHELOR Electric colour picture (2002) Light installation 48 x 24 x 7 cm Left: the artwork exhibited at CHELSEA space

DAVID BATCHELOR, The Spectrum of Brick Lane (2003), Installation at Tate Britain Photo courtesy of the artist


8 (5) EDWARD TOTAH GALLERY Jospeh Albers (1988) Poster

The Blues to the Bush (1999) by Richard Evans was first exhibited in Red White and Blue (2012) at CHELSEA space. The piece has an aesthetic connection with the term live and it was designed as the album cover for British rock band The Who’s Live album, The Blues to the Bush. This display brings together imagery derived from music, design and British Pop Art, with artists such as David Batchelor, Lawrence Weiner and Josef Albers.

RICHARD EVANS The Blues to the Bush (1999) GiclĂŠe printed with archival pigment inks 310gsm HahnemĂźhle German Etching paper

Richard Evans was born in 1945. He studied fashion design at Nottingham School of Art in the 1960s followed by a post-graduate course in graphic design at Leicester. He has produced work for a variety of artists including The Doors, Pink Floyd, Paul McCartney and Robert Plant. Evans has worked continually with The Who since 1976, designing anything and everything for them, from album covers to tour merchandise. Richard Evans is the author and designer of several books including THE ART OF THE ALBUM COVER.



Skoghall is a small, quiet town in Sweden, without any exhibitions of art and lack of cultural institutions, where everything was built by the paper Mill. Alfredo Jaar designed and built a new Konsthall, and curated within it an inaugural exhibition that included works of 15 Swedish artists. Konsthall was opened by the mayor and burnt to the ground 24 hours later. The townspeople protested against the destruction of Konsthall, so Jaar proposed building a temporary public gallery for Skoghall and later a committee was formed to develop a permanent Konsthall in the small town. Another group of people argued instead that perfectly good material should be recycled and used to build a much needed playground. Jaar contended that the paper mill consumed a larger amount of materials, so there is no difference, but offered to build a playground at no cost to the town on the condition that people obtained material support from the factory.


O T N E (A



) A V NO

ALFREDO JAAR Skoghall Kunsthall (2000) Three photographs 52 x 72 cm each

One year later, Jaar received an invitation to design the playground. Three photographs of the installation show a life cycle of the “public gallery”, which illustrate the initial story of Jaar’s project. In the installation one can see the idea of the project, how it was created, displayed and how it died. But moreover, very essential is a story behind the scenes: public intervention brought art to people who had no facilities to experience or create art and was the initial point of creating something else.





Re-exhibiting Gary Woodley’s site specific and site responsive mural drawing is an attempt to account for art history’s relation to time, through the discourse of re-enactment. This artwork within LIVE evokes CHELSEA space’s first exhibition, Gary Woodley: Impingement no.47, curated by Donald Smith in 2005. It is a careful representation of time and memory, presented in an openness of interpretation. Exhibition re-enactments challenge the traditions of displaying art and the monotonous way of looking at art by accommodating the conventional definition of a ‘historical’ attribution, while suggesting the fabrication of alternative histories. It grants the creation of meaning through a direct presentation that encourages a visually dynamic dialogue between past and present. g one situation onto another’1. It represents an artwork from the past being stranded in the present. The recreated Ellipsoid (2005) reveals the complexity of the relationship between exhibition making and the history of Chelsea space, creating a dialogue that addresses the

GARY WOODLEY Detail of Impingement no. 47 (2005) Installation

The key to an exhibition re-enactment is in the viewer’s experience, which can demand the utilisation of space, movement and memory in real time. The curatorial outline examines the ephemeral quality of the original exhibition, while enhancing the artist’s methodology of imposing situations. It represents an artwork from the past being stranded in the present. The recreated Ellipsoid (2005) reveals the complexity of the relationship between exhibition making and the history of Chelsea space, creating a dialogue that addresses the interrelation between present and past.










SACHIKO KODAMA Breathing Chaos (2004) Video installation, 8 min 52 sec on loop


AYŞEGÜL TURAN Untitled (2013) Installation


LYNDALL PHELPS Perceptible Invisibility I & II (2015) Installation


Magnets, force, and interaction with art are central to this collaborative display between curators Cherie Silver and Binnaz Gül Yeter. Independently Cherie and Binnaz were attracted to the works of UK based Australian artist Lyndall Phelps and London based Turkish artist Ayşegül Turan respectively, to exhibit in LIVE. Discussion regarding the specific works selected by these artists resulted in further research into artists who have worked with magnets. The ferrofluid works of Japanese artist Sachiko Kodama came to the forefront as a way of providing a broader international representation of artists who have used magnets in their art. Using a scientific element in their artworks, all three artists have created artworks that have a universal understanding.

Perceptible Invisibility I & II (2015) by Lyndall Phelps, encourages repetitive interaction with the installation, creating a uniquely tense environment in LIVE. The work investigates the force of magnets and is an example of Lyndall Phelps’ artistic practice based on research, experimentation, and a playful relationship between aesthetic and concept. Japanese artist Sachiko Kodama has worked with ferrofluid for over ten years, and her video work, Breathing Chaos (2004), was chosen to be exhibited with the other works adding a multimedia dimension to the interactive display. Alongside the works of Lyndall Phelps, Ayşegül Turan, and Gary Woodley, the video of the volatile ferrofluid creates movement and tension within CHELSEA space. Within LIVE, the work of young Turkish artist Ayşegül Turan promotes her creative potential in contemporary art and her connection to London. Turan mainly uses iron and magnets for her metal sculptures. Being interested in magnetism as a natural phenomena she is intrigued by its presence in different layers of existence and its sensory experiences. The combination of Turan, Lyndall Phelps and Sachiko Kodama in this exhibition exposes a curatorial interest that is a mixture of cultural-identity, materialism and space-relation. Central to the curatorial practice of both curators is providing an international context for exhibiting art from their respective countries. This display eliminates the boundaries of a national art, and furthermore although all of the artists are female, this is not identifiable in their work.

12 For this exhibition Sophie has chosen a digital work by Peter Saville, a pivotal figure in graphic design and style culture. This digital work, After Closer, was originally conceived as a limited screen print edition for the Postmodernism exhibition held at the Victoria & Albert Museum. It directly references Closer, the last album recorded by the iconic English rock band Joy Division, (1980, Factory), following the death of lead singer Ian Curtis, and the transition of Joy Division to New Order. After Closer highlights the historical narrative of the work: the black rectangle in the centre of the composition represents the original cover-art for the Closer album by Joy Division. It is surrounded by two day-glo colour changing technical fields that frame the black centre. The inner field consistently catches up with the outer field’s change in colour, and sometimes the two merge: as if New Order were forever born from Joy Division, albeit eternally separate.

After Closer was also selected because of its connections with some other artworks selected such as Electric Colour by David Batchelor, The Blues to the Bush by Richard Evans and Homage to the Square by Joseph Albers. These connections have been emphasised through a careful display, placing the works close to each other, creating a mesmerising dialogue in between them and other artworks.




PETER SAVILLE After Closer (2012) Digital limited edition Courtesy of (left) JOY DIVISION, Closer (1980), Vinyl Album, inner picture sleeve, early edition printed on rough cream paper, later edition on plain white paper, FACT 25 Factory (UK), photograph by Bernard Pierre wolff, designed by Peter Saville, Martyn Atkins (right)

ABOUT ANASTASIA PAPONISIFOROU (10) Born in 1992, Anastasia is a London based curator. She holds a BA (hons) in Fine Art from the University for the Creative Arts, completing her dissertation on the complexity of materiality and for her MA in Curating and Collections, she aimed her attention on the relationship between exhibitions and exhibition re-enactments from the late 18th century to the present. She has curated or co-curated His Twine (2015); Shift (2015) in the UK and the annual EC Art Studio Exhibition (2012 & 2013) in Cyprus. Contributed to numerous shows including Bread Matters IV: Crossing boundaries (2015) in Cyprus; and ESADHaR (2014) in Rouen, France.


THE ASHLEY FERNANDEZ (21) +44 (0) 7885 659 243 A native of Los Angeles, California, and based in the UK, Ashley has a Bachelor’s and Master’s in Art History with a specialisation in painting from the High Renaissance to the early 20th century. Heavily influenced by art theory, such as Metamodernism, she is interested in creating displays that place works together which may not have been done so before in that way or environment, so as to reinvent display technique and the interpretation of the works within. Ashley is currently finishing a second MA in Curating and Collections from Chelsea College of Arts (2015).

BRYONY WRIGHT (6) +44 (0) 7745 371 064

Binnaz (b.1989, Berlin, Germany), daughter of two artists studied Art History at Mimar Sinan Fine Arts University in Istanbul, Turkey. During the last semester in 2013 she started to direct the gallery ART350. She is taking part in the MA Curating and Collections course at Chelsea College of Arts (2014-15). Recent projects include, Contemporary Istanbul Art Fair 2013 - 2014 and the exhibition Consume – Leontia Gallery (London) 2015.

Bryony is a curator who’s background began in completing a bachelors degree in Costume Design at Wimbledon College of Art followed by undertaking a Masters Degree in Curating and Collections at Chelsea College of Artss. Wright has a speciality in fashion and textiles but is also interested in objects based around illustration and design. Wright has co-curated exhibitions including ‘Jocelyn Herbert and Samuel Beckett: Work from the Collections #3’ at Wimbledon Space, ‘Asfaleia’ at Gallery 204 and ‘In Peril on the Sea: Sailing Ships, Stormy Seas’ at Chelsea Space Gallery.



Cherie’s research has focused on contextualising Australian art for an international audience. Influenced by work experience in the auction industry, she is also interested in curating private and commercial collections. Cherie’s curatorial practice is research based and as well as exploring historical exhibition material in archives has studied Australian artists who have exhibited in London and the UK throughout the twentieth century.

Chialing is a Taiwanese born, UK based curator. Interested in curatorial approach within contemporary art practice and experimental theatre, she works with emerging artists, photographers, films and theatre. With her journalist background, she experiments on presenting arts in different formats and the interaction between the artworks and the audiences. She is currently studying MA Curating and Collections at Chelsea College of Art and Design, University of Arts London.



DaEun is a Korean curator based in London. She studied Modern and Contemporary art at Christie’s (2013-2014), and is now completing her Curating and Collections studies at Chelsea College of Arts, University of Arts London (2014-2015). Her current area is installation art, and she assisted in the installation process of the work Tornado by Tokujin Yoshioka in Korea in 2010.

Fabian graduated with a Bachelor of Arts in art history and philosophy from the Ludwig-Maximilians-University in Munich. He has gained various practical experiences through internships at Galerie Voss, Düsseldorf, and by initiating the curatorial projects art.spiring and, where he held the position of the project coordinator. His current dissertation is focusing on Performance Art and the question, how you can exhibit Performance Art without the actual act of performances. +44 (0) 7554 611 420

+44 (0) 7858961673 +886 0918530250



Born in Singapore, Gabriel studied photography at the Nanyang Academy of Fine Arts and graduated with a BA (Hons) Fine Art from Norwich University of the Arts in 2011. He has previously worked with several contemporary British artists. In 2014, he curated a display of Ian Whittlesea’s A Breathing Bulb (2014), which was first displayed in Marlborough Contemporary. His postgraduate research focuses on the materiality of archived ephemera within the field of modern and contemporary British art and galleries.

Giulia is a curator from Milan based in London. After graduating with a Bachelor in Communication and Marketing, she received her MA from Chelsea College of Arts in Curating and Collections. She gained various experiences in art galleries based in London and Los Angeles, at Artissima art fair 2015 and at the 56th Venice Biennale. Her MA research focuses on Moving Image Installations, and how the curatorial choices changed from the 50s until the contemporary.



Grace has a background in visual arts having trained at Keele University. In 2006 she co-curated the first UK Romany/Gypsy/ Traveller art exhibition, Second Site at the Stephen Lawrence Gallery, Greenwich. In 2008, she joined arts organisation Metal, providing project and finance management. In 2011 she organised Showflat, a series of site-specific exhibitions in artists’ homes and its accompanying publication. Since 2011 she has coordinated the visual arts programme at Greenbelt Festival, exhibiting artists such as Willie Williams, Anthony Green RA, Simone Lia, Michael Leunig, Nicola Green, Sokari Douglas Camp CBE and Guler Ates. Her research interests centre on feminist maternal art practice and curating the personal.

Having obtained a BA degree in Design Management at Shandong University of Art and Design, China in 2014, Haijiao continues to study for her MA degree in Curating & Collections at Chelsea College of Art and Design, UAL. From her former practices in doing service design, she has developed a habit and methods of observing people’s behaviour in consuming places like cinemas and supermarkets; and from her voluntary work at Shandong Art Museum during the 10th China Art Festival in 2013, she found that viewers had trouble in focusing on artworks of certain genre. Her current research regarding Minimalist photography aims at creating a more engaging exhibition-viewing experience through curatorial approaches.

HUITING LI (李慧婷) (18)


Born in China, Huiting Li is a Chinese curator and exhibition designer who is studying for her MA in Curating and Collections (20142015) at Chelsea College of Arts, London. She has a bachelor degree in exhibition design from Shandong University of Art and Design in 2013. During the MA course in London, she practiced her curatorial skills in Chelsea Space. In addition, Huiting Li curates exhibitions with emerging young artists and also collaborates with other curators in university space and individual galleries. Her individual curatorial research focuses on the contemporary curation of crafted artworks and collections.

Jiayi Lu has a BA degree in Art History and Management in Shanghai University and now studying MA Curating and Collections at Chelsea College of Arts, with her research area being about the Chinese contemporary sculptural art and the Chinese culture in the contemporary art area. This curatorial practice is focused on researching the traditional culture reiteration in the contemporary artworks.



Kittima is a curator from Thailand based in the UK. Interested in curatorial approach within contemporary art practice, she works in numerous projects with emerging artists within South East Asia art and cultural context. Selected work experience includes: assistant curator for Bournemouth Thai Arts Festival 2015; curater of the exhibition Does Anyone Else Want to Protest? 2015 at Chelsea College of Art Library; assistant curator for Brand New Art Project 2013, and; Education programmer assistant for Bangkok ASEAN Art and Culture Festival at Bangkok Art and Culture Centre. She is currently studying MA Curating and Collections at Chelsea Collage of Arts, University of the Arts London, with her recent curatorial research interest revolving around Artists’ books.

Kyle is a media art curator. Questioning the form of media art and discourses on new technologies, his approach emphasises the materiality in the digital and its relationship with the audience experience in visual art. Recent exhibitions curated include Rocking Prejudice, CHELSEA space, London 2015; Bright Shadow, London 2015; SHIFT, Menior Gallery, London 2015; Jocelyn Herbert and Samuel Beckett From the Jocelyn Herbert Archive at the National Theatre, Wimbledon Space, London 2015. 0044 7840035615

MONICA NORSE (ANTONOVA) (9) +44 (0) 7984 811742 Born in Moscow, Russia. Currently based in London.Graduated with a Master diploma from Lomonosov Moscow State University. Founder of 78º projects, urban art exhibition initiative, developing to become a platform for supporting graffiti. Worked as a curator assistant and project manager in Winzavod Center for Contemporary Art, Moscow (The Wall Project, Project Start). Curated and organized Fragment exhibition in Museum of Moscow, a special project of Biennale of Street Art “Artmossphere”; “East Street/West Street” exhibition in “Lollipop Gallery” and the photographic collection of Stuart Roy Clarkes “Homes of Football”. Author of number of publications regarding graffiti art and sports. Currently working on independent curatorial projects, including collaborations with commercial galleries and research centers. Research interests: illegal art, graffiti, public interventions, documentary photography.

OXANA SMIRNOVA (24) Oxana an independent curator working on international projects all over the world. Currently completing MA Curating and Collections at Chelsea College of Art and design. The past projects include: Jaguar Summer Museum 2012; Bond by GQ 2012; Covered with Snow 2013; Parajanov 2014; Night at the Museum 2012, 2013, 2014; Lexus Hybrid Art project 2012, 2013, 2014. Currently involved in several collaborative projects with Solyanka VPA (Moscow) and Gazelli Art House (London), which include Manuel Vason: Intimate Collaborations - Special Project for Moscow Biennale of Contemporary Art 2015 and Window Project 2015 respectively.

NAVY CHUNG H.T. (20) Focusing on audience experience, Navy Chung finds new methods of exhibition encouraging interaction and conversation through personal experience. Having completed a BA in Fine and Applied art, with a focus on ceramics, Chung’s research has let to an exhibition of ceramic objects entitled = ? function at the Royal College of Art’s Hockney Gallery.

ROBERTA VACCA (11) Roberta is an Italian curator based in London. She graduated in Science of Cultural Heritage in Turin and since moving to London have worked in major British institutions, such as Tate Modern, the Southbank Centre and the Science Museum.

SARA ELMASRi (25) After obtaining her Bachelors degree in Modern History and Literature, Sara began her career pursuing written and editorial work, and later event management. Her practice this year has focused on exploring how contemporary curatorial practices can communicate relevant historical, cultural and political significances. Her research interests involve curating dress within the museum environment and experimenting with different ways fashion can interconnect with audiences. Her final dissertation involves exploring the inclusion of personal narratives within the context of an exhibition and its effects of conveying fashion as a significant cultural phenomenon.

SOPHIE PRADERE (5 & 12) +44 (0) 7747 567 173 Sophie’s curatorial practice is based on new media art and art practice in the digital age. She has focused her research this year on investigating the challenges of collecting born-digital art, including and notably from a curatorial and conservational standpoints. Her professional work experience as an international lawyer and lobbyist, specialised in intellectual property rights, digital media and internet laws has given her the opportunity to identify some of the most sensitive issues in that field including from legal, ethical and philosophical perspectives. Sophie was educated both in France (Paris) and Italy (Milano) and holds degrees from Sorbonne, Assas, ESSEC, Universita Cattolica del Sacro Cuore (Milano), and qualifications from Sotheby’s Institute of Art, CSM, and Chelsea College of Arts.

WO ZHANG 張我 (19) Wo Zhang is interested in the communication between Contemporary Chinese Art and Western Art and she is currently organising exhibitions in both China and UK of selective established artists from both the two countries. She also values the importants of academic research and focuses on the study of the History of Western and Chinese Art, Social Studies and comparative Art and Archaeology in Ancient China and Ancient Greek.



Yang Chen is currently studying MA Curating and Collections in Chelsea College of Art, University of the Arts London, 2015. She also hold a Bachelor Degree on Fine Art (Watercolour) in China. Yang Chen’s curatorial approach is on rediscovering disappeared and disappearing traditional handicrafts or artworks through creating haptic or audio experiences. During 2014-15, Yang Chen has been a part of several exhibitions in college and starting to organize exhibitions on public spaces.

Yuan Chao is now studying MA Curating and Collections in University of the Arts London, Chelsea College of Art. She got her BA degree on Fine Art in China. With her interest in fashion, she has researched the relationship between fashion and art. Besides, she is also very familiar with the exhibition-related work in museums and galleries. In 2013, she worked for Jiangsu Art Museum as an exhibition guide. She was responsible for the costume section of Jocelyn Herbert and Samuel Beckett From the Jocelyn Herbert Archive at the National Theatre at Wimbledon College of Art, London (2015). +44 (0)7470018084 (UK) +86 18961181096 (China)

Within LIVE in the Cookhouse, Fashion in the Woods is an artistic fashion display. It highlights works from two textile designers: Zimeng Zhu and MA Textile Design student Hyemi Ku. This display highlights the effort of the designers and raises the question of what can be defined as artistic fashion. The velvet top and organza skirt are both from Zimeng Zhu’s Wonderland Collection (2015), which is about the origin of life. The designer considered tree as one of the elements to make the world alive. Hence she applied her drawings inspired by tree barks printed on her garments.


HYEMI KU Untitled (2015) Embroidered fabric on canvas, 24 x 18.5 cm



ZIMENG ZHU Wonderland (2015) Sleeveless blouse in velvet and skirt in organza


HYEMI KU Untitled (2015) Embroidered fabric on canvas, 30 x 15 cm


HYEMI KU Untitled (2015) Knitted fabric on canvas, 20 x 20 cm

Two embroidered works and four knitting samples are from the artist, and textile designer Hyemi Ku. Hyemi’s inspiration lays within visual features of ‘phobia’ through the collection of scary characteristics focused on ornithophobia and aqua phobia. She is fascinated with sharp beaks and claws, deep-black feathers, aggressive eyes, dark and deep sea, and focuses on symptoms or responds of people such as startled facial expressions, cowed bodies, or displacement of body parts. She collects the images and applies drawings and embroidery on it. What Hyemi amis to do, is to create the collaboration between the unconscious and conscious, cause and consequence, psychical and physical, or in and out.


This display features the fashion film Black: 2015 created by British fashion photographer and film director Nick Knight, produced by SHOWstudio. In London in 2004, British fashion designer Alexander McQueen (1969-2010) presented Black, a show re-staging some of the defining moments in his catwalk presentations. Knight photographed backstage. A the collaboration between McQueen and Knight was intended, the photographs remain archived. To celebrate Savage Beauty, SHOWstudio created an image comprised of these never-before-seen photographs. The image is brought to life in this 2min 22sec fashion film. Exhibiting Black: 2015 in this exhibition conveys fashion in its most live form: in motion.

NICK KNIGHT Black: 2015 (2015) Video installation, 2 min 22 sec on loop SHOWstudio

24 LIVE as a theme presents the essence of performance art – action is an integral part of it. Therefore, the work created by Fyodor Pavlov-Andreevich aims to present the relationship between the artist and the viewer, which can be very multidimensional. Triptych Photobody:Vova, 2012 is a performative photo-installation, consisting of one central image and two mirrored side-images of the character, whose name is Vova (Vladimir). The central image shows Vova full size lying in a pose of crucified Christ. On the side-images one can see details of his facial expression. The work is constructed as a Russian Orthodox icon. The audience is allowed to keep the sidedoors of the icon open or closed, therefore, being responsible for the work’s presentation and perception of it for the next viewer. The visitors step up on the podium activating the work, which underlines a performative aspect of the art piece. Live is not only what we see in front of us, but is something beyond our perception or conscious understanding. Our imagination can be live, our dreams can be live, our beliefs can be live. Therefore, through the process of questioning the possible meanings and making decisions about interacting with the art work, a dialogue between the artist and the viewer is initiated. meanings and making decisions about interacting with

the art work, a dialogue between the artist and the viewer is initiated.

FYODOR PAVLOV-ANDREEVICH Photobody: Vova Performative photography C-Print, mixed media, 2012 Edition of 5 + 2 Artist’s Proof 79x53cm (overall size)


Milk is a mixed media display showing video documentation from Nicola Canavan’s performance Milk (2014, 7:32 mins, moving video documentation by Alexander Leistiko), as well as archival material and a vial of Canavan’s breast milk. Milk questions what society deems appropriate in the public and private domains; opening discussion about the visibility and normality of breastfeeding, exploring how the female body and the mother/child relationship is viewed. Canavan describes her work as a response “to the fear of the functioning body and the othering of mothers, in particular the milking mother.” For the performance Canavan is seated in a window, expressing milk using a pump. Surrounded by symbolic objects, her face veiled with flowers, Canavan could be confused for a mannequin, if not for the pump’s motion. The scene is reminiscent of a vanitas still life painting, offering a

NICOLA CANAVAN Milk (2014) Mixed media installation Photos courtesy of Juli Watson

sanitised version of breast-feeding, with the child absent. Canavan later removes her veil and her husband enters with her son, whereupon they take communion of her milk before she breastfeeds her son. With the accompanying biblical text, symbolism and ritual, it is easy to imagine the work as a modern Madonna and child, but Milk goes beyond the accepted and controlling sentimentality of the patriarchal view of motherhood.

Milk is a political statement. The milking mother is not the accepted maudlin or objectified and sexualised female form we are used to, it is the hidden, oppressed body of the (m)Other. In this Canavan confronts society’s fear of the female functioning body.


LINDA VIGDORCIKA Untitled (transept), (201)5 Mixed media installation

Curator Chialing Chu and artist Linda Vigdorcika have collaborated with the aim of exhibiting the unexhibitable. Based on a performance made by the artist Vigdorcika in Richmond Park in December 2014, the display invites discussion on the possibility of reviving artwork that can only be presented in a specific environment and occasion. By recreating the natural environment in the gallery space, this exhibition aims to provide the audience with different readings of the artwork created in a different media. The concept of exhibiting the unexhibitable is strengthened by the six-metre tall reconstructed tree installation that can barely fit in the gallery space, and corresponds to the documentary video of the performance.



HARRY HURLOCK King Charles II (2015) Acrylic on canvas 120 x 100 cm


HARRY HURLOCK Gold Bars (2015) Mixed media installation

‘I’m noticing a new approach to art making in recent museum and gallery shows […] It’s an attitude that says, I know that the art I’m creating may seem silly, even stupid, or that it might have been done before, but that doesn’t mean this isn’t serious.’ (Saltz, 2010) Inspired by Timotheus Vermeulen’s and Robin van den Akker’s artistic/cultural theory of Metamodernism, the display intends to explore the construction of artistic value. The two works of Camberwell Alumnus Harry Hurlock (BA Hons Fine Art 2014), King Charles II (2015) and Gold Bars (2015) intend to start a satirical dialogue with the viewer which questions the canon concepts of art.

YUSSEF AGBO-OLA Digestive Architecture (2015) Mixed media installation


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Within main concept of this exhibition LIVE, still life is presented in an interactive manner in order to demonstrate live in both humanity and the natural world. This idea is expressed through the project Architecture of Digestion, which the multidisciplinary artist Yussef Agbo-Ola has been developing. To engagew ith the audience and reflect the metabolic process, Yussef proposes to transform food into an architectural material that takes form and structure in the viewer’s digestive system. The context is about food and the way people relate to it as a way of understanding environmental perception; he has made a cellulose based dehydrated bio skin from the juice of food waste, their urine, and Algae as a way of imagining the tension between internal disposal and environmental conditions.


張我 The Dream Mark of the Mountain: New Chinese Porcelain Art by Guojun Zhang Under the smooth, cold surface of porcelain, the energy of brushstrokes flows. This theory is similar to the concept in Martial Arts of‘寸劲 (cun jin)’: to exhibit force with minimal movement in order to impress people through actual strength, however without exaggeration or fear. The artist, Guojun Zhang, has this kind of power in his porcelain painting works, combining the painting technique and structure of traditional Chinese ‘山水shan shui’ (mountain and water landscape) painting with Western abstract art and surrealism. In traditional Chinese philosophy, live is the strong spirit that one holds inside, rather than grandiose appearance. The artistic style of Guojun Zhang is like water, the softest medium as well as the strongest. Every brushstroke represents the flow of energy and the change of thoughts. His works express the fundamental principle of traditional Chinese painting and calligraphy ‘写意 (xie yi)’, also known as freehand style, which focuses on capturing spiritual feeling rather than the detail of the subject.

GUOJUN ZHANG Xin An Dream Mark 2 (detail) enameled porcelain 40x40cm

By presenting the porcelain paintings of Guojun Zhang, this display aims to show audiences the vitality of abstract brushstrokes and the raw energy of nature through the interaction and unity of dynamic and static. It also presents how ancient Chinese painting techniques are evolving in contemporary art. The Artist Guojun Zhang (b.1960) was born in China and now lives in Beijing. He is a traditional Chinese artist in painting and porcelain, and holds the position of Vice President of Anhui Province Institute of Chinese Painting. He has been working on developing and researching Xin’An School of Painting for over 40 years and concentrates on creating new Chinese art discourse through paintings on porcelain.




It’s Up To You (2013) and Goodbye Paris (2013) created by the artist Claire Brewster as well as the book The Oxford Advanced Atlas (published in 1940) collected by the same artist, are represent a paper art section in LIVE exhibition. Through this display the traditional paper materials have been given new meaning, hence a new life. Brewster has reconfigured the meaning of the paper material in her practice and claims that ‘maps are also man’s way of controlling and defining the world and I love to subvert that by literally cutting them up and creating something that renders them useless on the one hand but on the other creates a new value.’ Furthermore, the geographic information in her work has been provided from the utilisation of out-of-date maps and atlases.

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CLAIRE BREWSTER It’s Up To You (2013) Hand cut OS map and pins 70x60 cm


From the Collection of CLAIRE BREWSTER The Oxford Advanced Atlas (1940) Book 38 x 26 cm Displayed as reference material


CLAIRE BREWSTER Goodbye Paris (2013) Hand cut map of Paris and pins 72 x 62 cm Photo credit Paul Minyo, courtesy of

In addition to presenting these two artworks, Brewster’s artistic practice is being lively investigated in the space through the display of a book from her collection. The artist’s involvement in the found maps is evident through the missing pages ofThe Oxford Advanced Atlas. Therefore, the display of the book collection reflects the importance of materiality in crafted arts and aesthetically creates a poetic connection between the original maps and the map cutouts.


The objects curated in this display are an enlarged puzzle and Chinese calligraphy in ancient characters. These objects form the artwork Burr Puzzle (2015), by contemporary Chinese artist Kaiyan Yu, displayed in the entrance of the Cookhouse. Burr Puzzle is an interlocking puzzle, consisting of 6 pinewood pieces with mortise-and-tenon joints. This interlocking structure was widely used in the ancient Chinese furniture and architecture. The content of the calligraphy is the description of burr puzzles and how to solve them. It is a direct reference to the first Chinese magic book printed in 1889.

KAIYAN YU Burr Puzzle (2015) Calligraphy & wooden sculptur, 46 x 44 x 46 cm



SHADI MAHSA A Woman With Thousand Faces (2015) Mixed media installation

Le Recrace Tel Quell




Curators are confronted with the challenge of how to exhibit ephemeral, conceptual practice in an institutional context. Core concepts including live, the artist’s presence, and the requisite for an audience are not to be neglected. The display Le Recrace Tel Quell creates an aftermath for the performance of Iranian artist Shadi Mahsa (MA FA) and her art piece A Woman With Thousand Faces rather than showcasing the actual performance. The display title refers to Jean Baudrillard’s term ‘le recrace tel quell’ – spit it out as it is – to describe the effects of simulation in Simulacra & Simulation (1981). The exhibit features a dress worn by the artist during the performance and transcripts. These objects simulate the performance, conveying the live aspect of the interaction forming a new platform for performativity.



CHRIS GIBSON Perpetual motion (2010) Video installation 1 min 53 sec on loop



Perpetual Motion is a collage of photographs, accompanied by the soothing voice of the artist, taking his audiences through a stream of consciousness, in order to bring them to the realisation that the only thing that matters is the here and now, as the perfect time to start our lives. When I was just a child I dreamt to be an artist and more than anything to bring art to people. Growing up and discovering artists, the dream remained, even if I tried to hide it in a remote corner of my life to myself and others.

Art is a powerful tool that some people have been gifted with and some others have the duty to find, discover and bring to light and to life. I really think art will and can make the difference, not only in the life of artists, but also in the lives of those who have the courage to let themselves live and be inspired by it. My personal journey this year ends in the Cookhouse with this artwork and this artist, which have been an inspiration to my curatorial ideas and practice, focusing on the audience experience of artworks and often connected to live arts.


MARCEL SCHWITTLICK Propeller II (2015) Endless genervative painting, created by a software

Giulia Ponzano’s display for LIVE is based on her collaboration with the Berlin-based visual artist Marcel Schwittlick, whose work incorporates programming, art and technology.

Propeller – conceived specifically for LIVE – is an endless generative drawing, recalling the eternal cycle of life. This infinite series of pulsating patterns and colourful contrasts are conceived in real time by a computer software program: the end of each segment pregages the beginning of another in the recycle of birth and rebirth. The nature of the generative approach is to let the computer have a certain degree of freedom in the creation of the piece. Generative, in this context, means that the visual output is different every time the application is run, but still within certain boundaries, expressed in the code of the software.

Propeller’s visual loudness is counterbalanced by the absence of sound: the result is an immersive contemplation on how rhythmic, bright and alive our encounter is with this digital work.








When A Circle Meets The Sky (2012) by Carla Chan and Occupied (2000) by Peter Downsbrough fully embody two different approaches towards the form of moving image. The former delivers an immersive experience of a natural desert landscape, with the extended vision outside the four-edged screen. The latter makes efficient use of the conventional cinematic features, such as the screen and manually directed camera movement, in order to facilitate the delivery of urban visual of modernity and the aesthetics of geometry and single/two-point perspective. Both video pieces provide a distinct contrast that reflects on the relationship between nature, technology and human agency. Peter Downsbrough Based in Brussels, Peter Downsbrough was trained as an architect, conceptual sculptor and photographer. He creates spatial interventions with a minimalist visual vocabulary of letters and


PETER DOWNSBROUGH Occupied (2000) Single channel video, 18 min 37 sec Courtesy of the artist


CARLA CHAN HO-CHOI When A Circle Meets The Sky (2012) Single channel video, 13 min 8 sec on loop Courtesy of the artist

lines. He has exhibited widely in Europe and America since the 70’s in major museums and galleries. In the UK, early solo exhibitions came from the Jack Wendler Gallery in 1973, CHELSEA Space in 2011 and Laure Genillard in 2012. Carla Chan Based in Berlin and Hong Kong, Carla Chan is a media artist. Her works, minimal in style and form, often toys with the blurred boundaries between reality and illusion, figure and abstraction. Her works have been showcased internationally in numerous exhibitions, including European Mobile Dome Lab (E/M/D/L), Europe & Canada 2014-2015; Milwaukee Underground Film Festival, USA 2013; the 26th Stuttgarter Filmwinter, Germany 2013; and Hong Kong Contemporary Art Awards 2012.


Live: An ambiguous word; a banner for a group of exhibition makers to rally around; a theme to bring together a diverse range of research interests; a cohesive logo/brand defining a single exhibition in two distinct locations. CHELSEA space + The Cookhouse: Aesthetically, architecturally connected by their light stone and plate glass windows. Separated like bookends or buttresses at either end of the red brick ‘Barracks Block’ of the former Royal Army Medical College. CHELSEA space Entrance: Concerning the conceptual, artists books, documents, photographs. An enquiry into thinking, making, accumulating. Ephemeral spaces for art and ideas. Ramp: Light at the end of a tunnel, a culture clash, recycling, graphic reproduction, assisted readymade, colour, humour, what you see is what you get, magical modernism: what you see is not what you get. Main space: Echoes of the Ramp, oscillation, Neo-Geo appropriation, pixilated, pop, pastiche, interaction with the ancient and recent past, the authentic and the fake, global and universal, an invitation to touch, the politics of space, natural and man made forces, temporality, flux, energy, entropy.



The Cookhouse Room one: A darkened space, projection, installation, perception, formalism, collaged narrative, regenerative digital ‘painting’, philosophic enquiries into cinematic space. Room two: A room full of alchemy, the liquid to the solid, precious objects from base materials, traditional crafts and contemporary outcomes, flux and transformation, the body, the creative act, the value of things. Room three: A rotunda, arches, light, a chapel-like environment, spatial geometry, religious and spiritual iconography: nature, the tree of life, madonna and child, crucifixion and deposition, sacrifice, wounds, self destruction, aftermath, good and evil, fashion and performance, purgatory, heaven and hell. Room four: A side altar for room three, a beginning or an end, an entrance and an exit, a performance and its aftermath, an empty space waiting to be filled.

LIVE: An exhibition, here and now. Donald Smith Director of Exhibitions CHELSEA space

Private View: Friday 4th September 6pm - 9pm Saturday 5 September Sunday 6 September Monday 7 September Tuesday 8 September Wednesday 9 September Thursday 10 September

11am - 5pm 11am - 5pm 10am - 8pm 10am - 8pm 10am - 8pm 10am - 8pm

CHELSEA space and Cookhouse Chelsea College of Arts 16 John Islip Street, London SW1P 4JU For information about events related to the exhibition please visit:

S T N E T CON 13 Kyle Chung

Peter Downsbrough / Carla Chan Ho-Choi

14 Giulia Ponzano Marcel Schwittlick

15 Roberta Vacca Chris Gibson

16 Fabian Strobel Shadi Mahsa

17 Jiayi Lu Kaiyan Yu

18 Huiting Li (李慧婷) Claire Brewster

19 Wo Zhang (張我) Guojun Zhang

20 Navy Chung H.T. Yussef Agbo-Ola

21 Ashley Fernandez Harry Hurlock

22 Chialing Chu Linda Vigdorcika

23 Grace Acton Roberts Nicola Canavan

24 Oxana Smirnova

Fyodor Pavlov-Andreevich

25 Sara Elmasri Nick Knight

26 Yuan Chao

Hyemi Ku / Zimeng Zhu

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05.09.2015 - 10.09.2015