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Summer 2013 Practice in Place: artists + audience + environment

Tom Phillips, page 125, A Humument, 1966

The Free Exchange Public. Art Commission

week and tweeted. See www. Sophie Cullinan Humument by Tom Phillips, re-presented by Sophie Cullinan programme/free-exchange/ publicart/ Location & Date

“Like many great works of art, A Humument unearths beauty that was hidden inside a different, untamed form. Here, Sophie Cullinan is using Public. wisdoms are found to be hiding within an innocuous page of Art – a commissioned LED a forgotten Victorian novel, sign in a local shop window, unintended by the original visible 24 hours a day – to author. They only needed process the words contained the right artist to find them. in A Humument and return Although found in text written them to the page in a new by another, when reading them, form. Selected pages will be are they any less inspiring displayed on the sign each

33 High Street, Thrapston Northamptonshire nn14 4jj 25 June – 14 October

than those that may have been created from thin air by a different artist? By removing the words from their original book setting, without Tom Phillips‘ artwork and showing each page as text alone – do they make any less sense? Would you have identified their origination or will you just be querying our typing accuracy and the strange punctuation?” Sophie Cullinan artist statement

Public.Art, 2013, Sol LeWitt, Sentences on Conceptual Art No. 17

The Free Exchange Monthly events

A discussion on the first Tuesday of every month, examining conceptual areas of overlap between artistic practice and the everyday. Location

33 High Street, Thrapston Northamptonshire nn14 4jj Art + Satellites

7 – 8.30pm, Tuesday 2 July Artist Nikki Pugh and Garmin’s Laura Tomei will discuss creative uses and implementations of locative technology, exploring how we can use Global Positioning Systems (GPS) for more than demonstrating our position or drawing a line where we have been. Located somewhere at the intersection of people, place, playfulness and technology,

Nikki Pugh investigates different ways of exploring how we move through and interact with the world around us. Pugh took part in last year’s Corby Walking Festival, using the ‘aesthetics of inaccuracy’ in GPS signals to create drawings. Laura Tomei is the EMEA Cartography & Content Product Manager for Garmin Europe Ltd. Garmin is one of the world’s leading mobile navigation device companies and manufactures in-car sat navs, portable navigation devices and other GPS products. Art, Movement + Touch

7 – 8.30pm, Tuesday 6 August

Fielding practices Cranial Osteopathy, which is a type of osteopathic treatment that encourages the release of stresses and tensions throughout the body, including the head. Cranial osteopaths are trained to feel a very subtle, rhythmical shape change that is present in body tissue, which requires a finely developed sense of touch. The work of Salamander Tandem and Virginie Litzler has been developed through a sensitive response to the structure and fabric of the Cube alongside an awareness of the movement of the body within an architectural space.

Gesture artists Isabel Jones and Places are limited so please Virginie Litzler will discuss ways book via our website, email or over the phone. in which a performer moves and responds to touch with osteopath Geoffrey Fielding.

Nikki Pugh, drawing created as part of the Corby Walking Festival, 2012

Gesture Artists in Residence, Performance & Exhibition

The Cube

George Street, Corby nn17 1qg Salamander Tandem

Touch Stone Performance Thursday 18 july 12.30 – 1pm & 6 – 6.30pm Salamanda Tandem’s team of sighted and visually impaired performers has been in residence at Corby Cube since May, exploring the building through movement, sound and touch. Their work will culminate in Touch Stone a site specific performance directed by Isabel Jones, with Indra Slavena and Mickel Smithen, professional dance artists who are visually impaired. Slavena and Smithen will dance to music received through headphones and Jones’ audio description of their surrounding environment, in a part choreographed and part improvised piece.

Jones is working with cocomposer Duncan Chapman to work alongside other professional musicians as part of the Northamptonshire Music Hub, young string players and members of the local community, to produce live music for the second performance. Virginie Litzler

Quadrature Artist in Residence & Exhibition 31 August – 30 September Launch event

5 – 7pm, Friday 6 September Virginie Litzler is the second Artist in Residence in the Cube, following on from Rebecca Birch. Litzler’s work deals with forces between architecture

and the body, exploring the point of resistance between the two components. Litzler states “through a performative process, figures evolve in urban spaces in order to define their position. What is presented is not the disaster of a fall, nor the magical spectacle of the acrobat, but the necessary finding and holding of a point of equilibrium.” Quadrature will showcase the work Litzler made during her residency from April to June. The exhibition will present notations and photographic installations in various spaces of The Cube, “concentrating on how bodies, architecture and air converse to perform a materiality for discourse”. The work has been created through special photo-shoots with local people who Litzler has met through her residency, alongside drawings made in and of the space.

Part of Gesture, a year long project exploring the ways in which relationships can be communicated through the conduit of the hand. Curated in collaboration with Caroline Wright, in partnership with Corby Borough Council and The Core. Salamanda Tandem, rehearsal for Touch Stone, 2013

Virginie Litzler, sketch for Quadrature, 2013

Diary of Events Summer 2013

Exhibitions Sophie Cullinan, A Humument by Tom Phillips Fermynwoods Contempor ary Art Office

25 june – 14 october Make Believe; Re-Imagining History & Landscape Nottingham Castle Museum & Art Gallery

20 july – 22 september Habitat Barnwell Country Park 3 august – 29 september Quadrature The Cube, Corby 31 august – 30 september

Artists in residence Virginie Litzler, Quadrature The Cube, Corby april – september Sophie Herxheimer, Habitat Barnwell Country Park july – september

Diary of Events Summer 2013

events The Free Exchange, Art + Satellites Fermynwoods Contempor ary Art Office

2 july Make Believe; Re-Imagining History & Landscape launch Nottingham Castle Museum & Art Gallery

19 july Habitat launch Barnwell Country Park 3 & 4 august The Free Exchange, Art, Movement + Touch Fermynwoods Contempor ary Art Office

6 august Quadrature launch The Cube, Corby 6 september

Performance Salamander Tandem, Touch Stone The Cube, Corby 18 July

Make Believe; Re-Imagining History & Landscape Exhbition


The exhibition takes a statement by Alfredo Cramerotti as its starting point that “truth can only be experienced”, what we receive second-hand as ‘fact’ has already been mediated through someone else’s perception, filtered through the experience of another. If so, can fiction lead us nearer to reality?

The original mediaeval castle has long disappeared, replaced by a grand Ducal mansion in the 17th century, which was gutted by fire in 1831 during Reform Act protests. The building was left as an empty shell until the 1870s, when its interior was remodelled to become one of the first public art museums outside London.

Artists have been invited to respond to the unique site of Nottingham Castle, its histories and collections, to intervene through temporary artwork that provokes imagination, adds layers of ambiguity and invites us to bring to bear our own experiences, memories and associations.

Fragments of the site’s thousand-year history can be found in the gardens and underground, alongside newer elements: a rescued Georgian door set in the side of a slope, apparently leading nowhere and manmade cladding seamlessly underpinning the original Castle rock. Across this site, fact and fiction literally collide; what is real and what has been imagined can be hard to differentiate, all is not what it seems.


Admission charges

Wayne Burrows, Susan Collis, Mark Dixon, Alan Kane, Debbie Lawson, Jason Singh, Shane Waltener

Adults £5.50 Concessions (under 16s, over 60s & students) £4.00 Under 5s go free

Nottingham Castle Museum & Art Gallery

off Friar Lane, Nottingham ng1 6el Telephone 0115 876 1400 Dates

20 July – 22 September Open everyday, 10am – 5pm (please note last entry into the Castle is 4pm)


5 – 8pm, Friday 19 July Join us for a drink and special tour to launch the exhibition – free entry

Make Believe; Re-Imagining History & Landscape Exhbition

Wayne Burrows

Susan Collis

Mark Dixon

Wayne Burrows is responding to these layers of historical fact and fiction, creating a new narrative around selected works from the Every Object Tells a Story Decorative Art and Craft display on the ground floor. The pieces – ranging from a 16th century barber’s bleeding bowl, to samples of Hawaiian bark cloth and a carved and pierced bone box containing playing cards and dominoes – will be seemingly linked through “a text that fictionally re-frames and connects these objects”, encouraging visitors to follow an imaginary thread through the exhibits.

In 2007 Susan Collis made a body of sculptures that played with our perceptions. She used a variety of techniques, processes and materials to explore ideas around craft, labour and value. Collis took existing, everyday objects – such as rawl plugs and dustsheets – and transformed them into something extra­ ordinary. At first glance, these objects appear to have been left behind from a gallery installation; stained and spattered with marks made through use. Closer inspection reveals that this wear and tear has been carefully orchestrated and meticulously applied, a highly sophisticated trompe l’oeil.

During his research, Mark Dixon became intrigued by the idea of submerged foundations for the long disappeared symmetrical steps leading up to the original first floor entrance to the Ducal mansion. Dixon will ‘map out’ imagined footings and traces of possible earlier buildings on the lawns along the east façade, a grass disturbance resulting from fake archaeological features. Alongside, Dixon will display associated ‘found’ artefacts from the ‘archaeological dig’ in the café’s display cases; objects from museums’ collections, real archaeological finds and newly made objects.

Wayne Burrows, Marine, 1955

Susan Collis, Why We Dream, 2007

Make Believe; Re-Imagining History & Landscape Exhbition

Alan Kane

Alan Kane is “manipulating the museum as a whole (and museology itself)” through a number of interventions within the permanent displays. Kane is collecting new source material from Nottingham’s charity shops, including Decorative Arts, Fine Art, Textiles and Costume and Local History and inserting it, cuckoo like, into their counterpart collections, through a formally consistent stripe, with a “patent awkwardness for current museum presentation”.

Kane describes the process as “creating a kind of mini Nottingham Castle Museum through a prism. Through this manipulation perhaps the original collection works individually, and the institution more generally, might appear afresh.”

Alan Kane, The Collection of Mr & Mrs L M Kane (installation view), Frieze, London, 2009

Debbie Lawson

Debbie Lawson is creating The Trophy Room for the Bastion, a room within the Gatehouse, which is not usually open to the public. Lawson creates “atypical environments through the use of found objects, household furniture and domestic materials such as ‘Persian’ carpet and wood. Tinged by nostalgia linked to memories of the domestic interior and suburban life, these humdrum objects become part of a ‘mise en scène’.” (Nettie Horn). Lawson’s three works in the Bastion, hint at another possible life and use for this room, which has the appearance of the anteroom to a mediaeval Great Hall, but is in fact part of a Gatehouse remodelled in the Edwardian era.

Debbie Lawson, Persian Tiger (detail), 2011

Make Believe; Re-Imagining History & Landscape Exhbition

Jason Singh

Shane Waltener

Jason Singh is creating a new sound installation, in which sounds from the present and past, rural and urban, real and imagined, are juxtaposed; a soundscape that combines fact and fiction. Singh is responding to the audible environment of the Castle site, vocally recreating sounds from wildlife, nature, traffic, speech, and overlaying those with re-created sounds from the past, such as distant sounds of rioting and protest, as well as invented, abstract sounds. What is real and what is myth becomes entwined, as layers of narrative emanate from a closed off doorway.

Shane Waltener will use the Castle grounds as a giant ‘lace pillow’, highlighting the panoramic views of the city from the Castle, bringing into focus the city’s industrial lacemaking history and revealing new features in the landscape. As in the case of a needlecraft sampler, a number of different stitches will be used, referencing lace on display in the museum. New pathways around the Bandstand, made from stitch connecting tree to tree, will be developed through rehearsals with a group of local volunteers. Waltener says: “The final configuration of this lacy network will prompt alternative circulation by visitors walking through the grounds, and with this a focus on new vistas perceived within and beyond it.”

Jason Singh, Blisworth Tunnel performance as part of Interchange, 2011

Make Believe; Re-Imagining History and Landscape is a collaboration between Nottingham Castle Museum & Art Gallery and Fermynwoods Contemporary Art, funded by Arts Council England through Grants for the Arts.

Shane Waltener, Nottingham Castle work in progress, 2013 (photographed by Stephanie Johnson)

Suky Best, stills from 54 Morning Lane, 2011

Habitat Exhibition & Artist in residence


Suky Best, Sophie Herxheimer, Alastair Mackie, Klaus Osterwald.

dwelling in the Kingfisher Hut, to make things and share stories of how we make ourselves a home we feel at home in.

Barnwell Country Park

Barnwell Road Oundle pe8 5pb Telephone 01832 273435


Dates & Information

3 August – 29 September Open everyday, 9am – 5.30pm Free admission Parking £2.60 (pay & display) Opening Event

The Kingfisher Hut Saturday 3 & Sunday 4 August 11am – 4pm Artist in Residence, Sophie Herxheimer invites us to join her in her cosy hand drawn

Habitat is a series of artists in residence and temporary, siteresponsive interventions and sculptures in Barnwell Country Park and on the x4 bus that links Barnwell to Corby town centre along a 12 mile route. Habitat explores real and imaginary places where people and wildlife co-exist. The artists invite us to imagine how our perception of the world can be altered through a different understanding of the way animals, birds and insects relate to their natural surroundings.

Suky Best

Suky Best uses wild birds as her subject matter, bringing them into human habitations through film. In 54 Morning Lane, the film presented in Barnwell Visitor Centre, digitally collaged owls disrupt the domestic scenes of an ordinary suburban home, in a British 1940s film. The birds seem to be the real inhabitants, camouflaging themselves against the wallpaper, merging with the patterns, appearing and disappearing. It is as if the birds had lived in that space before humans accidentally enclosed them in bricks when the house was built. When the house is empty, they come out to play.

Sophie Herxheimer, stills from video for Arnold Circus, centenary project, commissioned by Friends of Arnold Circus and Home Live Art, 2010

Habitat Exhibition & Artist in residence

Sophie Herxheimer

Sophie Herxheimer uses drawing, painting, printmaking and poetry, to make surprising and distinctive visual narratives on the surfaces available, from cardboard to books, tablecloths to handkerchiefs. Herxheimer will be the Artist in Residence during the summer, working with diverse groups and individuals in Northamptonshire, to share and draw ideas about all our different notions of home, journeys, and how we live, on and off familiar ground. These stories will be brought to life through the artist’s inky paintbrush, and embroidered with her knowledge of fairy tales – until they form props and furnishings for the Kingfisher Hut, ready to be

inhabited during the opening weekend. Let the real or imaginary kettle whistle you into the story kitchen!

human dominion, to that of the birds – a kind of offering”. From a human perspective the elevated forms will have a strong uplifting presence.

Alastair Mackie

Alastair Mackie’s sculptures challenge the conventional limits separating nature and culture, the supposed dualities of nature/culture and animal/human. The theme of metamorphosis also runs through his practice, which traces the journey from nature to culture and back again. For Habitat, the artist is building two unique but typical nesting structures, which will be raised on uniform poles and positioned within the Park, near the play area, within sight of one another. The artist describes them as “a habitat up in to the sky, away from the

Alastair Mackie, Mockup for Barnwell Country Park, 2013

Klaus Osterwald

Klaus Osterwald has been collecting sounds since 1998, when he began ‘artistic eavesdropping’, constructing hydrophones to make sound recordings in a lake, to record the acoustic communication between fish. Osterwald was surprised at the variety of underwater sounds he recorded, such as gas bubbling up from the bottom, plants producing oxygen, and the calls of waterboatmen, there are also unknown sounds, which he refers to as ‘voices’. Osterwald will create Donatus Subaqua, a spatial installation near

Habitat Exhibition & Artist in residence

the lake in Barnwell Country Park using speakers, from which these foreign sounds will emanate. Barnwelll Country Park was created from a disused gravel quarry. It is bordered by the River Nene and has 15 hectares of lakes, riverbanks and meadows to explore, with three way-marked waterside trails, two fully accessible bird-hides and a wealth of wildlife. Barnwell is particularly known for its bat and bird populations; such as Daubenton책s Bat, Pipistrelles and Brown Long-Eared Bat, the Waterside Warblers, Kingfishers and Bower Birds. The diverse water habitats attract a range of wildfowl, including ducks, coots, moorhens and swans, as well as dragonflies, frogs

and fish. The Wildlife Garden has a diverse range of habitats, including a pond, bird boxes, herb bed, bog garden and habitat pile.

The exhibition was researched by Angela Kingston.

Sophie Herxheimer, Food Story drawing, 2007

Klaus Osterwald, Donatus Subaqua, 2010

Fermynwoods Contemporary Art W W W.FERMYNWOODS.CO.UK


Cover image: Virginie

Litzler, Elongation, 2004 Design: Ten-Hut  Print: Principal Colour

FCA acknowledges the support of St Crispin Lodge, through a donation from Douglas Compton James Charitable Trust

Fermynwoods bulletin: issue 8  

The Summer 2013 bulletin of Fermynwoods Contemporary Art.

Fermynwoods bulletin: issue 8  

The Summer 2013 bulletin of Fermynwoods Contemporary Art.