Time in Hand A photographic installation featuring the work of ﬁve selected artists from the magazine:
Charlott Markus / Barry W. Hughes / Sarah Palmer / Eyal Pinkas / Rupert White SuperMassiveBlackHole was invited by the Irish Museum of Contemporary Art to present a special exhibit as part of The New Living Art exhibition 2010. As part of this inaugural exhibition SuperMassiveBlackHole presents Time in Hand, a photographic installation featuring the work of ﬁve selected artists from the magazine. By using found objects, temporary constructions and momentary interventions, Time
in Hand challenges the nature of the photographic subject and questions our relationship with the material world. This original and engaging approach is made all the more exciting by the individual artists shared appreciation for the playful and the poetic.
The New Living Art exhibition 2nd July ‒ 1st August 2010 Irish Museum of Contemporary Art, Lad Lane (Old OPW), Off Baggot Street, Dublin 2, Republic of Ireland For more information on IMOCA and The New Living Art exhibition visit www.imoca.ie
SuperMassiveBlackHole is a free online photography magazine, based in Ireland but open to the world. It is published three times annually as a downloadable PDF in both print and screen resolutions. SuperMassiveBlackHole accepts submissions and invites individuals to contribute, please see the Submission Guidelines on the website for details. Time, Space, Light & Gravity are what drive SuperMassiveBlackHole
Charlott Markus Charlott Markus (born Sweden) graduated from the Photography Department of Gerrit Rietveld Academy in Amsterdam, The Netherlands, in 2007. Before that she studied at Fatamorgana, The Danish School of Art Photography in Copenhagen. Charlott constructs still lives and arrangements that predominantly end up as a photographic presentation and occasionally as site-speciﬁc spatial pieces. She has been a member of Piece Of Cake (Europe) the network for contemporary images since 2008, and currently lives and works in Amsterdam, The Netherlands. For her photo works Markus collects old furniture, left over wood, pieces of carpet and old garments, preferably from the direct surroundings of where she happens to be working. Rearranged into layered compositions she creates images on the border of staged settings, (photo) realism, and painting, turning her down to earth, derelict subject matter into protagonists of an alternative, poetic narrative. Markus has a preference for what might be considered society’s orphans: discarded objects and materials, vacant spaces. Again, things and places that inhabit an in-between state: of being useful or mere waste, ready to ﬁnally be destroyed or perhaps to take on a new existence as something else. Moreover the materials used ‒either as a subject in still-life photography or as an actual physical presence in sculptural installations- are the basic materials which are used to deﬁne ourselves and our direct surroundings; the upholstery which separates -or hides- one space from another, form from function, the body from the outside world. In the series PlayOfﬁcePlay Charlott set up a temporary studio in the ofﬁces of the graphic design duo Attak. The series is a reaction to the world surrounding Attak in combination with Charlott’s own fantasy of escaping an ofﬁce. In this series, with abstract landscapes and scenes, she did not only choose the left over and forgotten items but combining them with new and unused objects in a functioning environment, emphasizing balance, line and the modern still life. Selected works: Untitled images from the series PlayOfﬁcePlay, 2009. Website: www.charlottmarkus.com
Barry W Hughes Barry W. Hughes (born 1980, Dublin, Ireland) received his BA in Fine Art Media from the National College of Art & Design, Ireland in 2005. His practice centres on photography and video which has been exhibited consistently throughout Ireland and internationally, including USA, UK, Germany, Australia, the Philippines, Japan and China. To coincide with a solo exhibition Engage ‒ three works on the IRA decommissioning of 2005, in Shanghai, China in 2009, Hughes also published a book by the same name with 411Galleries who he has consistently shown with in China for several years. Recent exhibitions include Party Animal at Sugar, Brooklyn, New York, USA; An Éire of the Senses at the Irish Pavilion of the World Expo 2010 in Shanghai and MART’s An Instructional European tour. His work has been published in many international photography and art magazines both in print and online. Hughes has been nominated for several awards including the AIB Photography Prize, 2006, and has been previously supported by the Arts Council of Ireland, Culture Ireland, Visual Artists Ireland, Consulate of Ireland in Shanghai as well as representing Ireland at the Asia-Europe Foundation’s international Art Camp in Japan, 2004. In 2009 Hughes founded Ireland’s ﬁrst online, international photography magazine SuperMassiveBlackHole which he continues to edit. Hughes chooses everyday objects and situations to explore ideas such as incidence, coincidence and accident, motivated by a desire to understand the tension between the intentional and unintentional gesture. Many of his works are based on the reinterpretation of social, scientiﬁc or psychological histories and models which ultimately pertain to his overall practice. Selected works: Herschel’s Keyhole, 2010; Spectre, 2010; Short Days Ago, 2010. Website: www.barrywhughes.com
Barry W Hughes
Barry W Hughes
Sarah Palmer Sarah Palmer (born in 1977, San Francisco, USA) received her MFA in Photography from School of Visual Arts in 2008, where she received an Aaron Siskind Fellowship, and her BA from Vassar College in 1999. Her ﬁrst solo exhibition, As A Real House, was held from March to May 2010 at the Wild Project in New York City. Her work is currently on view in the Photography Now 2010 exhibition, The New Skew, at Center for Photography at Woodstock, curated by Aperture’s Lesley A. Martin. Recent group exhibitions include: 31 Women in Art Photography (curated by Charlotte Cotton and Jon Feinstein), New York, NY, 2010; Looking Out/Seeing In, Brooklyn, NY, 2010; Miles from Home, Rhinebeck, NY, 2009; DescubrimientosPHE09, Madrid, 2009; and (super)natural, New York Photo Festival, Brooklyn, 2009. She has been visiting critic/artist at various schools, and has been on juries/panels for LMCC, NYC’s Department of Transportation, Art Directors Club, School of Visual Arts, and Rooftop Films. Her work has been published variously on the web and in print. She is currently Photo Editor of Metropolis Magazine and Treasurer of Rooftop Films’ Board of Directors. She lives and works in Brooklyn. This series, As A Real House, evolved from previous work, which sought memory, lost time, and hints of the absent-present in landscapes, rooms, and objects. As A Real House turns these ideas inward, departing from a critical exploration of the sentimental and the sweet, and moves into darker corners of remembrance, identity, and invention. The work explores my futile attempt to study time by stopping it mid-decay, while looking at the medium of photography and my own desire through a prism, breaking them apart into their elements, their beams of colour. As A Real House traces my search for the possible and impossible within photography, my desire to understand how ideas and memories are trapped inside, like layers of rock. By looking concurrently at different scales, I hope to reveal the vulnerability of both subject and medium, to expose all bodies as written texts, to watch as one system overtakes another. I seek to partition and catalogue photography’s viscera through intentionality and accident, to draw its hushed footsteps along the boundary of the real and the invented, the immediate and the hidden, the desirable and the grotesque. Selected works: Renaissance, 2009; Echo, 2010; Birth of the World, 2009 from the series As A Real House, 2010. Website: www.sarahpalmerphotography.com
Eyal Pinkas Eyal Pinkas (born 1980, Haifa, Israel) is a photographer based in Tel Aviv. He completed his BFA in 2007 at the Gerrit Rietveld academy in Amsterdam and is currently taking part in the MFA program at the Bezalel academy in Tel-Aviv. As a guideline, his work concentrates in the study of the inanimate and its depiction in photography. In my new work I search for points of calibration or for what I consider as a notion of zeroing in. The objects I choose to photograph in the studio are different forms of containers, or in a less direct way they are things that suggest an activity of holding and accommodating. Through photographic depiction I attempt to undermine their function by concentrating on their empty appearance, focusing on surfaces and forms. While considering carefully the political and economic atmosphere the objects refer to, I aim to undress them of those references and release them as representations into the redistributed common. Selected works: Untitled images from the series All Things Are Onions, 2010. Website: www.eyalpinkas.com
Rupert White Rupert White (born 1966, Kent, England) has studied Art History at the British Institute, Florence, Italy (1984) holds a MB BS University College London (1985), BSc, Neuroanatomy, University College London (1988 ), and a MA Fine Art, Chelsea College of Art (1997). He has exhibited extensively throughout Britain since the 1980’s. His work combines various media including sculpture; site-speciﬁc interventions recorded as video and photography, and recently ﬁlm involving the exploration of computer generated landscapes. He lives and works in Cornwall, England. Art depicting the landscape has been regarded with suspicion during the last 40 or so years, and is seen by many in urban art circles as being sentimental and passé. This is unfortunate as our experience of the landscape, and of rural living, has changed during this time. Much of my artwork can be thought of as an attempt to address these issues, from my perspective as an artist based in Cornwall, in the far South West of England. It is an attempt to ﬁnd new visual languages to express this changed relationship with the landscape, and to ﬁnd ways of reconciling contemporary art-concerns with contemporary rural lifestyles, cultures and communities. Selected works: Elegy (grey diamond), 2006 from the ongoing series Shadow Paintings; Sunﬁst (Zennor), 2001 from the ongoing series Sunﬁst; Colarizon, 2002. Website: www.rupertwhite.co.uk
Time in Hand At the New Living Art exhibition 2010
Charlott Markus / email@example.com Barry W. Hughes / firstname.lastname@example.org Sarah Palmer / email@example.com Eyal Pinkas / firstname.lastname@example.org Rupert White / email@example.com
The New Living Art exhibition 2010 at IMOCA was organised by Claire Feeley / firstname.lastname@example.org www.imoca.ie / email@example.com
SuperMassiveBlackHole’s Time in Hand was curated by Barry W Hughes www.supermassiveblackholemag.com / firstname.lastname@example.org
All images in SuperMassiveBlackHole’s Time in Hand exhibition and this catalugue are the sole property of their named creators unless otherwise stated. No image in the catalogue may be used in any way without permission of the copyright holder. The SuperMassiveBlackHole magazine title and logos are copyright ©2008 - 2010 Shallow publications. The New Living Art exhibition and all related material is copyright ©2010 Irish Museum of Contemporary Art. All rights reserved.
Published on Nov 8, 2011
Exhibition: Time in Hand at the New Living Art exhibition (Irish Museum of Contemporary Art, Dublin, Ireland 2010). Charlott Markus, Barry W...