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ELL, I thought about heading for Dismaland, but media saturation, combined with a dismal

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Arnolfini, Bristol

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and Matt Davies/Milo Newman:

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whose work I first encountered some years ago in Tate St Ives. One of the UK’s foremost land artists, Long documents his epic walks through the photography, maps and text, reimagining the relationship between art and landscape. The most immediate part of the exhibition is the offsite piece Boyhood Line, which follows a desire line trodden by users of the Downs near Ladies’ Mile for 170 metres, outlining it with white limestone rocks. The exhibition of Long’s work runs until 15th November.

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Time And Space

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darkness, filled with the noises of shifting waves and silt, taken from sound recordings made directly at the site, now covered by the North Sea. After a while, as I inched my way across the room, I saw what might have been a shelf, which vibrated and turned out to be the sound system. Then, as my eyesight adjusted further, I swam towards a shimmering white shape which proved to be fire regulations. The experience was surprisingly effective. More people came in, wondering how they would ever find their way back out and whether there was anyone else in there. ‘Yes,’ I said, ‘there’s me and I’ve been here six months.’ Plunging from the atmospheric dark, I made my way to the exhibition of work by Bristol artist, Richard Long,

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with Bristol poet and author Deborah S DE T Harvey

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think better of it. Besides, Bristol on a rainy August bank holiday can be just as grim. I’d intended to take a look at Asiel, a performance by Babok that was part of the Puppetry Festival, but there was no sign of it outside Arnolfini. Maybe it had been washed away by the rain. There was, however, a vaguely sheep-shaped lump of garish fibreglass just beyond M Shed, which had attracted a herd of dripping people taking photos. So much less interesting than the B2737 Battle Bus on loan from the London Transport Museum which was parked alongside and which, apart from the occasional toddler being lifted to parp its horn, was ignored. Instead, I headed into the Arnolfini and found a different Dismaland in the form of an installation by Matt Davies and Milo Newman, entitled By the Mark, the Deep. ‘A sound installation that delves into the submerged ruins of the lost coastal town of Dunwich’,

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By the Mark, the Deep

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Richard Long :

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E: news@bishopstonvoice.co.uk

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Bishopston Voice - October '15  
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