2005 - 2011 Archive
i-cabin was founded in 2004, operating from a bookbinding factory in north London. During its first four years i-cabin ran four concurrent programme strands â€“ supporting emerging artists, providing space for established artists to develop exhibitions outside of their usual practice, staging offsite projects and retrospectives of artists with disparate practices. In 2009 i-cabin announced its new space, a quarter acre of flood plain land in Worcestershire on the western edge of England, 40 miles from the border with Wales. This space functioned as a research site and rural exhibition space. During these years i-cabin was based on an exchange and criticism, in which artists, gallery and viewer were encouraged to work towards practices which considered social architectures and the inevitable affects, within those structures, of the production of artworks. In 2012 - 2013 i-cabin paused its programme whilst its director undertook full-time curatorships at other galleries. The research site closed in 2014. firstname.lastname@example.org
2011 Milly Thompson: Posters For Pleasure (Summer Picnic P4) Archizines: curated by Elias Redstone Attn:Library: curated by Booklet Press Milly Thompson: Posters For Pleasure (Summer Picnic P1) Supernormal Festival: Jessica Farnham and Milly Thompson Jessica Farnham: We Spent All The Equity 2010 Supernormal Festival: Introducing Leo Mas No Soul For Sale: We Better Keep Moving This Thing Forward, Whatever The Risks 2009 Subvision Festival Hamburg: Entry Points No Bees, No Blueberries: curated by Tyler Coburn and Sarina Basta i-land Residencies 2009: James Hardy and Richard Healy Research Annex, Site Visit One 2008 i-cabin: NoHopeForUs Barry Sykes: I Was Born on the Day Heidegger Died (But I Don't Know Much About His Work) The Miller and McAfee Press: The End of the Beginning Tyler Coburn and Sebastian Craig: Ghostwriters Caleb Lyons: You Just Can't Win Alec Dunnachie Collaborative Study on Partially-Sighted Philanthropic Gestures (Working Model) Jemima Stehli and Lewis Amar: Video Works 2005 - 2006 2007 i-cabin(texts): Projects for Zoo Art Fair 2007 Duncan McAfee: I'm Human Now. You're Human later La Commune: curated by Whitechapel Project Space Sebastian Craig: Notional Architectures What Is It? Part of Seja Marginal, Seja Heroi, curated by Sebastian Ramirez Far2Close 2006 (Group)Show i-cabin(texts): Zoo Art Fair 2006 Satellites: curated by Francesco Manacorda and Erin Manns Direct Currency Exchange Part 2: i-cabin: Direct Currency Exchange Direct Currency Exchange Part 1: artLedge: To London from Chicago, with Great Love Christina Mackie: How to Begin Adrian Hermanides and Robert Michael: Blackson Either Taking It Out or Putting It In 2005 Sebastian Craig: Broadcast* Hamilton, Baldock, Latham: Ich Bin Ein Sachennaushiesse i-cabin: Project for Zoo Art Fair Juliette Blightman: Marcelle, are you feeling bored with life? B.Y.O/resource Darren Norman vs. Giovanni Manzini Alec Steadman: Clarendon Building Project Matt Incledon: Proposition Till Exit: Strand (in several Harmonies)
Milly Thompson: Posters For Pleasure (Summer Picnic P4) October 30th - November 6th 2011
Archizines â€“ Curated by Elias Redstone. November 5th - December 14th 2011 Architectural Association. Included: i-cabin(texts), Touching On Architecture Series, Issue 1, Touching Architecture by The Jan Press. www.archizines.com
Attn:Library â€“ Curated by Booklet Press, Japan. November 5th - 18th 2011 Kosmos Lane gallery, Shibuya, Tokyo. Included: i-cabin(texts) Publications â€“ What is it?, Hello Sebastian...did you say A4, Touching Architecture, Terror and the Aesthetic, Mythologies & Ghostwriters. www.bookletlibrary.org
Milly Thompson: Posters For Pleasure (Summer Picnic P1) September 5th - 25th 2011
Supernormal Festival 2011 August 19th - 21st 2011 Supernormal Festival, Braziers Park, Oxfordshire. Milly Thompson, Posters For Pleasure â€“ Summer Picnic (Part 2). Jessica Farnham, We Spent All The Equity (Part 2).
Jessica Farnham: We Spent All The Equity August 6th - 28th 2011
Introducing Leo Mas August 21st - 22nd 2010 Supernormal Festival, Braziers Park, Oxfordshire.
We better keep moving this thing forward, whatever the risks May 14th - 16th 2010 No Soul For Sale, Turbine Hall, Tate Modern Curated by Maurizio Cattelan, Cecilia Alemani and Massimiliano Gioni. We better keep moving this thing forward, whatever the risks (Publications and Performances). Lewis Amar, James Hardy, Duncan McAfee, Darren Norman, Barry Sykes, Richard Jones & The Jan Press. Performance schedule: Lewis Amar – Sat PM, James Hardy – Daily PM, Duncan McAfee – Daily PM, Darren Norman – Sunday PM, Barry Sykes – Saturday PM. www.nosoulforsale.com
Entry Points August 26th - September 6th 2009 Subvision Festival Hamburg Curated by i-cabin. Christina Mackie, James Hardy, Lewis Amar, Alec Dunnachie, Richard Healy, Sebastian Craig, Tyler Coburn, Darren Norman, Brandon Alvendia and Duncan McAfee.
No Bees, No Blueberries (Curated by Tyler Coburn and Sarina Basta) June 26th - July 30th 2009 Included: Bransford Bridge Arrangement, 2009, mixed media. (Components by i-cabin, Sebastian Craig and Richard Healy. Horticultural advice by Tim Maiden and David Lane.) No Bees, No Blueberries at Harris Lieberman, New York. John Baldessari, Andrea Blum, Douglas Boatwright, Kim Seob Boninsegni, The Bruce High Quality Foundation, Heman Chong, Martha Colburn, Ann Craven, Das Institut (Kerstin Braetsch & Adele Roeder), Nikolas Gambaroff, Nicolรกs Guagnini, Guyton\Walker, Karl Haendel, Gareth James (with Roe Ethridge), i-cabin, Haley Mellin, Olivier Mosset, Steven Parrino, Luciano Perna, Allen Ruppersberg, SALOON (with Debo Eilers, Jane Jo, Jason Loebs, Charles Mayton, Blake Rayne, Georgia Sagri, Thomas Torres Cordova, Viola Yesiltac), Karin Schneider, Peter Simensky (with Charlotte Beckett, Patty Chang, Jennifer Cohen, Rachel Foullon, James Hyde, The Invisible Glove, Daniel Lefcourt, Michael Mahalchick, Ohad Meromi, Carter Mull, Adam Putnam, Allison Smith, Meredyth Sparks, Jane Virga).
James Hardy and Richard Healy: i-land Residencies Summer 2009 Richard Healy, A Temporary Gallery, 2009. James Hardy, Bau Wild, 2009. The first residencies at i-cabin's new space in Worcestershire. The works by James Hardy and Richard Healy were subsequently shown in the exhibition Entry Points at Subvision Festival in Hamburg opening on August 26th 2009.
Research Annex: Site Visit One May 15th - 31st 2009 Following i-cabin's move to its new space, this project brings together research documents and collaborative works stemming from the initial site visit of the residency programme 2009. These documents are presented for public scrutiny in the window of the former gallery space, now the research annex, at Clarendon Buildings, London. Research works by i-cabin, Richard Healy and James Hardy. Collaborations between i-cabin & Richard Healy / Sebastian Craig & Richard Healy. The artists taking part in the 2009 residencies at i-cabin are James Hardy and Richard Healy.
NoHopeForUs October 19th - 26th 2008 i-cabin in collaboration with artist/musicians Lewis Amar, Sebastian Craig and Duncan McAfee.
Barry Sykes: I Was Born on the Day Heidegger Died (But I Don't Know Much About His Work) September 13th - 28th 2008
The Miller and McAfee Press: The End of the Beginning August 9th - 17th 2008
Ghostwriters July 11th - August 10th 2008 Jack The Pelican, Brooklyn. A collaboration between Tyler Coburn and Sebastian Craig.
Caleb Lyons: You Just Can't Win July 5th - July 13th 2008
Alec Dunnachie May 30th - June 8th 2008
Collaborative Study on Partially Sighted Philanthropic Gestures (Working Model) March 8th - 22nd 2008 Platform, Vasa, Finland. An offsite collaboration between Barry Sykes and Sebastian Craig/i-cabin.
Jemima Stehli + Lewis Amar: Video Works 2005 - 2006 January 16th - February 3rd 2008
Projects for Zoo Art Fair 2007 October 12th - 15th 2007 Happily I Spill My Guts to You OR Sadly It Comes to This, Mixed Media, 2007. Three Art Objects Which Are Not For Sale, Mixed Media, 2007. Happily I Spill My Guts to You OR Sadly It Comes to This (including one Tobis Rehberger print edition purchased from Whitechapel Art Gallery, one list of expenses) involved the purchase of a random artist's print from a major non-commercial gallery, which is offered for sale for the exact cost of the print plus all the expenses incurred in the production and exhibition of the piece including the art fair stand, refreshments and the ongoing transport and storage fees. The work continues to increase in price as costs are incurred until such a time as it is purchased. During the cousre of the art fair the price rose from the initial cost of £176.25 to £805.83. Storage is being charged at £10/month.
Duncan McAfee: I'm Human Now. You're Human Later. July 7th - 29th 2007
La Commune (Curated by Witechapel Project Space) June 2nd - 3rd 2007 Serpentine Gallery, London. Whitechapel Project Space presents La Commune at the Serpentine Gallery, a weekend of performance, presentations, screenings and publication launches focusing on counter-histories of self-organisation, and the philosophical, personal and aesthetic legacies of such activities. Saturday 2 June: 1pm – Lilla Khoor & Will Potter's Khoor Miklós' vision of the Inca-Maya Culture in Hungary and Singular History. Two recent works that address the formation of personal and community identities in relation to the histories and mythologies promoted by the Hungarian State. 4pm – Melanie Gilligan's Prairial, year 215 A dramatic dialogue exploring the aesthetics of politics, the politics of aesthetics and the political economy of both. The inherently theatrical character of modern representational democracy is dissected (like a corpse), then reanimated by a shot of Rancièrean partage. Sunday 3 June: 2pm – Anthony Iles & Tom Roberts's 'All knees and elbows of susceptibility and refusal': talking history and history from below. Following a screening of the 1983 film by H.O. Nazereth Talking History: C.L.R. James and E.P. Thompson, Anthony Iles & Tom Roberts will take up the legacy and problems of the project of making 'history from below'. 4pm -– Melanie Gilligan's Prairial, year 215. To coincide with this event, Whitechapel Project Space has commissioned two publications; a new edition of Glasgow based fanzine Radical Vans and Carriages, and Mythologies by i-cabin texts, which will be available from the Serpentine Gallery, and for download from www.whitechapelprojectspace.org.uk. This is part of Local Operations (23 May - 1 July), a free series of self-organised events, talks, screenings and workshops by writers, curators, theorists, independent groups, not-for-profit spaces and students at The Sackler Centre of Arts Education at the Serpentine Gallery. All discussions will be available as free podcasts from www.serpentinegallery.org.
Sebastian Craig: Notional Architectures April 14th - May 13th 2007
What is it? February 22nd - March 18th 2007 A review of i-cabin offsite projects 2003 - 2007. Curated by Sebastian Ramirez as part of Seja Marginal, Seja Heroi* (Be Marginal, Be a Hero). Wysing Arts, Cambridge.
Far2Close January 13th - February 4th 2007
(Group)Show October 6th - 16th 2006
Zoo6, Zoo Art Fair 2006 October 13th - 15th 2006 Z006, Published by i-cabin(texts), Limited edition publication. (Limited to the number sold during Zoo Art Fair 2006, Edition Size 10). Contributors: John Dalgleish, Florian Hecker, Duncan McAfee, Simon Popper, Barry Hobson, Giles Round, Lucy Morris, Cerith Wyn Evans, Gregorio Magnani, Pablo Lafuente and Adam Latham.
Satellites: Ryan Gander, i-cabin, Ian Kiaer, Simon Popper, and Sue Tompkins. September 7th - October 14th 2006 Curated by Erin Manns and Francesco Manacorda. Tanya Bonakdar Gallery, New York. Cabin Baggage. i-cabin in collaboration with: Margarita Bofiliou, The Hut Project, CutUp, Till Exit, artLedge, Richard Birkett, Alec Dunnachie, Anthony Silvester and Richard Jones.
Direct Currency Exchange August 11th - 31st 2006 Around The Coyote, Chicago. Curated by i-cabin, hosted by artLedge. Artists: ArtLedge, Richard Birkett, Juliette Blightman, Sebastian Craig and Darren Norman.
To London from Chicago, with Great Love July 7th - 23rd 2006 Curated by artLedge. Philip von Zweck/ Stacie Johnson/ Alex Jovanovich/ Teena McClelland/ Duncan MacKenzie/ Ben Seamons/ Isak Berbic/ Brad Farwell/ John Phillips/ EC Brown/ Sayre Gomez/ Emiliano Cerna/ Cayetano Ferrer/ Loo Bain/ John Almanza/ Nate Wolf/ Kevin Jennings/ Nicholas Chaffin/ Ben Foch/ Justin B. Hansch/ Heather Mekkelson/ Erik Wenzel & Carl Baratta/ Yoon Young Hur/ Jo Hormuth/ J. Patrick Walsh III/ Carmen Price/ Frank DiGiovann/i Julia Tcharfas/ John Collins/ Jacob Christopher/ Daniel Pineda// John Peplinski Katie Scanlan/ Lauren Anderson/ Anna Mayer/ Amanda Ross-Ho/ Chris Roberts/ Jocko Weyland/ Sze Lin Pang.
Christina Mackie: How to Begin June 2nd - June 25th 2006
Adrian Hermanides & Robert Michael: Blackson March 24th - April 16th 2006
Either Taking It Out or Putting It In February 22nd 2006 i-cabin at The White Cubicle, London.
Sebastian Craig: Broadcast* December 16th - January 6th 2006 (18:10 - 20:10)
Ich Bin Ein Sachennaushiesse Adam Latham, Jon Baldock & Anthea Hamilton. November 4th - December 4th 2005
Project for Zoo Art Fair 2005 October 20th - 24th 2005 Darren Norman, William Morrow, Anthony Silvester, Christian Glaeser, Till Exit, Sebastian Craig, Margarita Bofiliou, Juliette Blightman and Adrian Hermanides. Nine artists were commissioned to produce nine separate works which could be combined to form one single. All i-cabin rule structures still apply. All work was commissioned specifically for the stand at Zoo. No work to be attached to the walls.
Juliette Blightman: Marcelle, Are You Feeling Bored With Life? October 6th - 30th 2005
B.Y.O./Resource June 16th - August 7th 2005
In what way is a gallery language open to a democratic selection process? Without any scope for the application of selection criteria an exhibition of Art objects becomes a moment which is neither less nor more than a retrospective of that moment. i-cabin opens its doors. Visitors/Artists are invited to bring a sculpture with them for inclusion in the show (BYO). Nonartist spectators are encouraged to lift whatever intellectual wealth as they are able to carry away with them for whatever purpose they see fit and at whatsoever time as deemed appropriate (Resource). The storage section of the gallery will remain open to visitors and spectators as a site of research and analysis. Meanwhile objects sourced from this section will be displayed in the display area. Objects will be selected by us in such a way as to conform to the linguistic demands of various exhibition titles as selected in response to emerging themes as defined during the process. 15 Artists delivered work over the four week period, from this work 13 shows were staged. These shows were, as a rule, left up until at least one visitor/spectator had seen them. Some however remained unviewed except by us. These shows included: Structures of Support Frequency Wave The Delicacy of Knotted Structures Architecture and Sci-Fi The Artists Included: Margarita Bofiliou, Christina Mackie, Chris Bird, Ian Evans, Sebastian Craig, Anthony Silvester, Brandon Alvendia, Alec Steadman, Amy Sharrocks, Juliette Blightman, Cerith Wyn Evans, Adrian Hermanides, Anonymous, Lloyd Sowerbutts and Hannah Watson.
Darren Norman vs. Giovanni Manzini June 3rd - 26th 2005
Alec Steadman: Clarendon Building Project May 9th - May 22nd 2005
Matt Incledon: Proposition April 8th - May 1st 2005
Till Exit: Strand (in several harmonies) January 13th - February 20th 2005
Subvision Festival Catalogue: Short text by Sebstian Craig A note on the new space ICA Nought to Sixty Gazeteer No.1: i-cabin A note on i-cabin's four programmes and a list of exhibitions to 2009 Press Release: Ghostwriters Exhibition Text: Jemima Stehli and Lewis Amar A note on i-cabin's exhibition text policy Plan B magazine: Profile: i-cabin, by Tyler Coburn Press Release: Satellites Review of artLedge: To London From Chicago, With Great Love, by Katie Scanlan Review of Christina Mackie: How to Begin, by Lupe Nunez-Fernandez Press Release: Either Taking it Out or Putting it in, by Pablo Leon de la Barra Becks Futures nomination text, by Francesco Manacorda
Subvision Festival Catalogue: Short text by Sebstian Craig
The official debate between exhibitors at Subvision Festival centred around the discussion of what was or was not 'off' art, and what exactly an 'off-art' initiative should be aiming to do. Given the festival's early description of it's remit, my understanding was that in this case the term 'off' was synonymous with 'marginal'. My opinion is that the term marginal is more appropriately applied to a gallery/initiative's practical structure than directly to its programme, and that an organisation's marginality indicates its intention to conduct activities that are not concerned with commercial viability. Marginal institutions' characteristic gravitation towards the geographical, architectural and/or conceptual peripheries (including galleries that exist through mail-outs or online), and away from established centres of art, is not just a symptom of economic necessity, it is a tactical move. In some cases (e.g. certain galleries associated with London's Peckham/Deptford 'scenes') what can be perceived as marginality represents nothing more than a failure to yet make the 'right' type of connections required to become commercially successful and claim a place in the main-stream. Such fledgling commercial galleries temporarily gather together in areas of cheap rent, and the term marginal is often, though wrongly, applied. Marginal initiatives are those that have written commercial inviability into their operating structure as a system to vouchsafe the type of programme they aspire to deliver. Naturally, the removal of an inclination to become financially profitable, and the ongoing commitment to pour money earned in other ways into the projects creates both the ability to support work in the critical, rather than the tangible, field of cultural output and a keen desire to invest in projects of the highest 'worth.' i-cabin, October 2009.
Entry Points â€“ Subvision Festival. Christina Mackie, James Hardy, Lewis Amar, Alec Dunnachie, Richard Healy, Sebastian Craig, Tyler Coburn, Darren Norman, Brandon Alvendia and Duncan McAfee. Entry Points was conceived as a text and a public discussion. The text referred to a group of ten artists and attempted to offer a short analysis of the intentions each had for the functionality of their work and their practice as artists. It sought to query what each would consider to be an important action and chart the value of a work by each artist on a scale of ideological activism. It seemed necessary to include the ten works which the text was using as signs of either conscious or subconscious decisions or beliefs, as to not include them would be to deny the opportunity to critique the text in the presence of its subjects. The space was divided to provide two equal elements, the text and the works, either one being capable of reduction to an accompaniment for the other. The pink string used to separate the spaces is a material which has a history at i-cabin and can be seen as an attempt to unify the selection of works and the text under the banner of the project space and its own history. A discussion followed the presentation of the text and the works for the purpose of publicly critiquing the project, which is part of i-cabin's ongoing commitment to offsite projects and collaborations.
A note on the new space 2009
i-cabin is very proud to be able to announce its new space, which is a quarter acre of land on the western edge of England, 40 miles from the border with Wales. We now have the opportunity to allow artists to work on projects of an entirely different scale and context. The programme will no longer be separated into the four different categories which we have worked with since 2005 but it will be based on the same core principles, which are centred on an exchange and self-criticism, in which artist, gallery and viewer challenge each other in order to develop projects which set their sights beyond the realm of an inward facing gallery critique. i-cabin ventures outward towards an art which tackles the social architectures of our culture and the inevitable affects, within those structures, public or otherwise, caused by the production of art works. We have always referred to the discussions which lead to exhibitions at i-cabin as a residency, now with the piece of land, artists will be able to take up residence both as a literal dwelling and as an ideological notion. The space here at Clarendon Buildings will continue to be our research space, office, studio and postal address. We also welcome the artist Richard Healy to the studio. I would like to thank everyone for their support and take the opportunity to invite you to the land and to the projects which will take place there. Exact directions to the new space will follow as necessary with project details. i-cabin's first exhibiton was held in January 2005. Between 2005 and 2007 i-cabin was run by Juliette Blightman, Will Morrow and Sebastian Craig. Since January 2007 i-cabin has been run by Sebastian Craig. i-cabin, Clarendon Buildings, 11 Ronalds Road, London, N5 1XJ (NB. Address No Longer in Use)
ICA Nought to Sixty Gazeteer No.1: i-cabin
I regularly contribute, on i-cabin's behalf, to the debate on current exhibition practice and I am often asked to comment on the notion of the artist-run space. It seems that the term is sometimes used as a substitute for a serious attempt at a worthwhile artistic agenda in that it acts as a synonym for 'alternative' or 'emerging.' In our increasingly lightweight creative culture the latter two terms read as inherently valuable in the search for the next big thing. Organisations believe that credibility can be gained by being seen to be, or to support, artist-run and emerging practices. I want to be clear that artist-run spaces, in many cases, fail to be any better than other galleries in nurturing artistic strategies of cultural importance and are not in themselves a sign of something important taking place. However, thanks to the research by Elena Serpotta, I am now beginning to remember that artist-run spaces are an economic and managerial scenario based on absolute necessity and artists' entrepreneurial drive to improve things for/by themselves. Sebastian Craig
A Note on i-cabin's four programmes and a list of exhibitions to 2009
In September 2008 i-cabin became the owner of a quarter acre of land in Worcestershire. Its programme of collaborations and residencies is now based there and begins in 2009. The London space continues to function as a studio, publishing office & research space. 2009 Aug 26 - Sept 6 Entry Points â€“ Subvision Festival, Hamburg. Jun 26 - Jul 30 No Bees, No Blueberries, Harris Lieberman, NY. May 1 - Jul 30 i-land residencies 2009: Hardy and Healy. May 15 - May 31 Research Annex: Site Visit One. Between 2005 & 2008 i-cabin operated 4 programming strands concurrently in its London space. These are listed below. Year1 is concerned with exhibiting emerging international artists who have not had solo shows in London before. The artists take part in a residency at i-cabin resulting in entirely new and site-specific works generated through a dialogue with i-cabin and the i-cabin space. Year2 works with more established international artists (who may or may not be represented by other galleries) and asks them to operate outside of their normal practice. Year2 hopes to result in entirely unique works which would not have been generated elsewhere and are a result of a specific exchange. Year3 is i-cabin's offsite collaborative practice. Since our nomination for Becks Futures in 2005 i-cabin has operated as an 'Art production Hub' authoring original artworks for international exhibitions. These works are specific projects produced in collaboration with groups of artists and initiated through a dialogue with i-cabin as a curatorial entity. Year4 is an unrestricted number of one week long shows by artists with disjointed and problematic practices. The programme will culminate in a public archive that will act as a reference document of contemporary practices which allow the loose ends to hang out. 2008 Oct 19 - 28 i-cabin: NOHOPEFORUS. (Year3) Sept 13 - 28 Barry Sykes: I was born on the day Heidegger died (but I don't know much about his work). (Year1) Aug 9 - 28 The Miller and McAfee Press. (Year4) July 5 - 13 Caleb Lyons: You Just Can't Win. (Year4) May 31 - Jun 8 Alec Dunnachie. (Year4) Mar 8 - 22 Collaborative Study on Partially Sighted Philanthropic Gestures (working model). (Year3) Jan 16 - Feb 3 Jemima Stehli and Lewis Amar: Video Works 2005-6. (Year2/1) 2007 Oct 12 - 15 i-cabin(texts): Projects for Zoo Art Fair 2007. (Year3) Jul 7 - 29 I'm Human Now. You're Human Later. (Year1) Apr 14 - May 13 Notional Architectures. (Year1) Feb 22 - Mar 18 What is it? i-cabin offsite projects '04-7. (Year3) Jan 13 - Feb 4 Patrick Meny: Far 2 Close. (Year1) 2006 Oct 6 - 16 (Group)Show. (Year3) Oct 13 - 15 i-cabin(texts): Z006. (Year3) Sept 7 - Oct 14 Satellites. (Year3) Aug 11 - 31 i-cabin: Direct Currency Exchange. (Year3) Jul 7 - 23 To London from Chicago with Great Love. (Year1) Jun 2 - 25 Christina Mackie: How to Begin. (Year2) Mar 24 - Apr 16 Hermanidez and Michael: Blackson. (Year1) Feb 22 - 29 Either Taking it out of Putting it in. (Year3)
2005 Dec 16 - Jan 6 Sebastian Craig: Broadcast*. (Year1) Nov 4 - Dec 4 Ich Bin Ein Sachennaushiesse. (Year1) Oct 20 - 24 i-cabin: Project for Zoo Art Fair. (Year3) Oct 6 - 30 Marcelle, are you feeling bored with life? (Year1) Jul 16 - Aug 7 B.Y.O./resource. (Year1/Year2) Jun 3 - 26 Darren Norman vs. Giovanni Manzini. (Year1) May 9 - 22 Alec Steadman: Clarendon Building Project. (Year1) Apr 8 - May 1 Matt Incledon: Proposition. (Year1) Jan 13 - Feb 20 STRAND (in several harmonies). (Year2)
Press Release: Ghostwriters
FOR IMMEDIATE RELEASE GHOSTWRITERS A Collaboration between Tyler Coburn & Sebastian Craig July 11 - August 10, 2008 Jack the Pelican Presents Opening Reception: Thursday, July 10, 7 - 9 PM Gallery Hours: Friday-Monday, 12 PM - 6 PM The first collaboration between New Yorker Tyler Coburn and Londoner Sebastian Craig, "Ghostwriters" is an imaginary account of Brooklyn narrated in drawing, architecture and prose. Building upon the work of Robert Smithson and W.G. Sebald, among others, Coburn and Craig will transform Jack the Pelican Presents into a sparse visitor center, populated with an evolving array of objects and interventions, including Craig's projected, 3D models of the gallery space; oversize, folded halftone prints of local buildings; and a binder filled with text documentation of improvisatory performances that Coburn staged, at Craig's request, throughout the neighborhood. The collaboration is long overdue: Coburn first met Craig in London in 2006 at i-cabin, a project space and publisher the artist oversees. In i-cabin's peripatetic activity and in Craig's work, which has been exhibited at the Serpentine Gallery, London, and Tanya Bonakdar Gallery, New York, Coburn observed refreshing, innovative approaches to institutional critique. So after completing his first New York solo show, this past spring at MARCH Gallery, and rounding out screenings and exhibitions at CRG Gallery and Gavin Brown's passerby, respectively, Coburn invited Craig to collaborate. Much as Washington Irving invented an extended history for the young Dutch colony, in his novel Knickerbocker's History of New York (1809), so Coburn and Craig consider the need for new myths, woven apace with the city's cycles of destruction and development. Through an ongoing, transatlantic exchange, in which Coburn meticulously describes the environs particular to Jack the Pelican's borough, Craig envisages a place he has never been - and that, for him, is synonymous 80's hip hop films, images of graffiti and The Cosby Show . Craig's ensuing drawings, ideas and instructions are translated by Coburn into the exhibition as objects, texts and propositions, caught halfway between imaginative minimalism and descriptive excess. Theirs is an architecture conceived to occupy a point in the constellation of projects drawn atop the map of the borough, but one which inclines towards the notional: offering hypotheses, not answers. In Italo Calvino's novel Imaginary Cities (1978), Marco Polo describes to Kublai Khan the many metropolises of his empire with such fanciful language as to suggest that each place may, in fact, be one of infinite outcomes of any given city. Coburn and Craig treat this condition of compossibility as integral to metropolis and exhibition alike and imbue the conventionally static form of the gallery show with ongoing products of their correspondence. "Ghostwriters" thus tells the story of its life, and like a text (and like a city), its account is subject to revision and amendment, obfuscation and revelation. Like any text and any city, the exhibition has a grain, along or against which it may be read. To read along it is to observe much of what has been described in the paragraphs above. To read against is to discover a hidden side of this story: an array of off-site drawings made, often illegally, throughout the neighborhood. Curious visitors may inquire as to their whereabouts, though seeing them may require those willing to transgress the limits of the public city. We invite you to read along and against. Departing from the standard tenants of appropriation, Tyler Coburn approaches his disparate subjectmatter as an actor would his script, adopting various competencies of artistic skill in restagings that flatten, toughen and defamiliarize his sources. Tyler holds a BA in Comparative Literature from Yale University and has exhibited with The Centre of Attention, London; Galerie Ben Kaufmann, Berlin; and
Gavin Brown's Passerby, New York. His debut New York solo exhibition was held at MARCH Gallery in Spring 2008. Coburn is a contributing editor to ArtReview and a staff writer for Rhizome. Sebastian Craig is an artist and the director of i-cabin, which is a project space, publisher and author. His practice is concerned with the transferal of information into architecture and the generation of an ongoing dialogue on artistic intention. Sebastian has an MA in Interdisciplinary Design from Central St. Martins and a BA in Fine Art from Byam Shaw School of Art. Recent shows include "La Commune", Serpentine Gallery, London; "Satellites", Tanya Bonakdar Gallery, New York; "What is it?", Wysing Arts Centre, Cambridge; and his solo show "Notional Architectures" at i-cabin, London. For more information, please contact email@example.com Jack the Pelican Presents 487 Driggs Avenue, Brooklyn, NY 11211 718-782-0183 www.jackthepelicanpresents.com
Exhibition Text: Jemima Stehli and Lewis Amar
Friends of i-cabin will know that it is not our usual practice to have texts to accompany the exhibitions, as someone is always here, we prefer to talk instead. Increasingly however it seems we are staging exhibitions where the complexities of the contexts under which the work is produced is vital to the importance of the show, and I am forced to acquiesce on this matter. Exhibition programmers and curators alike are often drawn to work with artists who they know personally, many people (myself included) consider this a laziness, but it is inescapable that a knowledge of an artists personal situation and working habits often makes the difference between being interested in certain works or not. Ideally all artwork would reflect every important aspect of its own production and could stand alone and for-itself, but this is an unnecessary idealisation which dismisses an entire element of interest in art. That does not excuse the fact that in some cases even a body of work plus historical writing will not necessarily justify an artist's existence. I feel compelled to here describe my thoughts about the two artists works, alongside my understanding of its practical context, as to not would simply leave me with a strange note about their personal lives. My individual point of entry to the work here shown was an awareness of the fact that Stehli was my landlord and Amar was her partner. As I remember it, he had been her student at Goldsmiths, and subsequently, in an order unbeknown to me, he had become her studio assistant and her lover. Their relationship bore, to my mind, the tensions of a couple who were also professionally involved, a situation which I could relate to. My personal interpretation of Stehli's work was based on an idea that one aspect of the work centred on the pretence of her offering control of her body to another, whilst retaining ultimate power over the artistic product of the scenario she instigated. As Amar was her assistant he regularly filled the position and as a result appears in many of Stehli's recent works in one of two roles: the physical director of her naked body or as the body which she directs for the gaze of herself and the camera. Amar meanwhile was producing films in which he fulfils one of two roles: the director of his own physical and bodily actions or as the director of other characters, which he manipulates or directs to act out their masquerades as mental or sexual aggressor. Both bodies of work tormented my mind with ideas of sexual violence acted out in opposing ways. Stehli's work is like 'sex behind glass', her nakedness offers her as a shop-window sexual commodity but it is protected, a look-but-don't-touch sexuality, separated by the camera lens, the glass frame over a photograph, the window of a Foster building or a sheet of Perspex. When her body is handled on screen it is completely unresponsive. In short she uses separation as a tool of power; display as domination. (This idea is one I have written at greater length about in the essay Art and Power: The Fetishization of Separation, a chapter of which centres on the work of John Hilliard, an artist whom Jemima has collaborated with in the past.) Amar's work, by definition of its filmic nature could be addressed from the same point of view but it creates no desire in me to do so. Although, in consideration, his work is full of contradictions in this matter. Although I want to say, for symmetry's sake, that Amar's directorial technique is giving up control of the subject of the films in an authentic way and allowing their sexual and aggressive tendencies to take over, in certain films, the entropic nature of the system he generates (by allowing it to do what it wants) is so contrived that the outcome is a complete inevitability. The occasionally overheard demand of Amar to "not move around too much," portrays a different reality of the scene. His works have an immediacy which stimulates in me, as a viewer, the feelings of frustration which Stehli's work depicts. Contrasts in the works, to my mind, highlight the uncomfortable similarities, the word 'uncomfortable' being used as a transferred epithet. Both artists offer me something which they then refuse to supply.
A note on i-cabin's exhibition text policy, June 2007
It has always been i-cabin's policy not to provide copies of exhibition texts at its shows. Instead it has been our preference to make ourselves present for direct and open discourse. In addition to this we have always encouraged our artists to make available their personal email addresses to any viewer who may wish to make further enquiries which we cannot satisfy, which they have all been very happy to do. In some cases it has not been possible for us to be present during all the opening hours of the show, in these cases we have always welcomed emails with requests for further contextual or practical information or with discursive commentary wherever our stand-ins have not been adequately briefed to fulfill the role. In certain situations exhibition texts of the formal type have been compiled which have been kept by us to be sent out in response to emailed enquiries or for those situations when visitors are disinclined, for any reason, to talk on the spot. Although exhibition texts carry out an important function in being a memento of the show we have preferred to offer some other type of paper document in substitution.
Plan B magazine: Profile: i-cabin, by Tyler Coburn
The story, as we know it, goes something as follows: a group of young artists graduate from school and venture into the art world. Heads crammed with theory and hearts beating for change, they discover the professional sphere to be not the mirror of their ideals, but a shiftless fiend, gorged on its commercial spoils. Our protagonists recoil and seek refuge in the camaraderie of the similarly inclined. So is born the artist collective; and so is born the artist-run space. The artist-run space will always figure into our cultural mentality as one of the more compelling embodiments of a certain radical ethos. As The Centre of Attention's recent exhibition, "fast and loose (my dead gallery)," so importantly revealed, the "secret history of the London Art world" comprises dozens of these collectives. And while it would be erroneous to assume that all artist-run spaces operate on pointedly alternative, non-commercial agendas, there are nevertheless those occasional ventures that ignite our imagination by causing palpable, critical shifts in the field of art production. Enter i-cabin. So-named by Ray and Neil Bailey, ex-naval merchants who run the North London bookbinding factory in which it is housed, i-cabin takes iteration as its very subject. In its inaugural year (2005), artists/directors Juliette Blightman and Sebastian Craig developed a series of parameters to defamiliarise the usual terms of gallery display. Running concurrent programmes of younger and more established artists (entitled "Year One" and "Year Two," respectively), the directors asked participants to produce site-specific work and restricted them from hanging anything on the cabin's walls. "I have a very deep adoration for the fabric of this space," Craig remarks, surveying the two cosy rooms the gallery calls its own. "It would be quite obvious to take a place like this that has tacky wood panelling and do a painting show. We wanted to dig in our heels against doing that." The parameters also proved to be unexpectedly liberating for many of i-cabin's artists. "People often liked having the limitations of those rules set for them," Blightman says. "Our first show was with Till Exit, who's quite well established. He makes full-scale gallery installations and, for us, he showed a couple of films. I don't think he would have ever shown those films other than in this space." When a commercial gallery dropped out of the 2005 ZOO Art Fair in the eleventh hour, Blightman and Craig were given the opportunity to bring i-cabin's critical agenda to a broader public. Using their catalogue entry to do battle with "gallery agenda-speak," the directors delivered a "bolshy and forceful" declaration of their frustration with an art world predominantly determined by the commercial viability of artworks. Their installation for the fair, as if to deliberately belabour the point, featured a "layer-cake of artworks, from the floor going up," collectively priced at an exorbitant ÂŁ45,000. One impressed ZOOgoer was curator Francesco Manacorda, who spun the gallery as an "art production hub" and nominated it for the 2005 Beck's Futures Prize. i-cabin as artist was born. "Francesco's notorious for it he has nominated and turned other people and galleries into artists," Craig laughs. "So in a splitsecond we had to propose an i-cabin artwork to the ICA and we'd never done anything like that. We were a gallery. We showed artists in our gallery and that was what we did..." The directors found themselves at a well-trodden crossroads. In the forty years since Marcel Broodthaers first gained access to the museum's vaults and divulged his fondness for ornithology and mischief, institutional critique had all but canonized itself as critical art-making par excellence. Having begun to gain a certain acclaim for their unique curatorial method, Blightman and Craig were well aware of the dangers of ossification. i-cabin's artistic career thus offered the directors a way of resisting complacency through the creative reappraisal of their practice. "Mini-retrospectives" were among the strategies employed to great effect. For "Satellites," a group show this past September at NYC's Tanya Bonakdar Gallery, Blightman and Craig commissioned a series of artist works that conformed to the size restrictions of airplane cabin baggage and which would then be carried aboard their flight to NYC. Among the miniatures and originals in their Duchampian boĂŽte-en-valise was a particularly nervy piece from Chicago gallery artLedge; flying in the face of increasing airport security, the gallerists contributed a sealed, velvet box whose contents were solely meant be seen by the airport's X-Ray technician. "They really pushed our conceptual buttons," Craig recalls. "There had been all of those terror alerts, so they restricted your cabin baggage allowance and liquids on airplanes," Blightman adds. "We asked
artLedge if there was liquid in the box and they wouldn't even tell us." "Direct Currency Exchange: Part One," a gallery-swap with artLedge at the end of i-cabin's inaugural year, also provided an occasion for Blightman and Craig to shake things up. For the London end of the festivities, the directors turned their gallery over to artLedge's posse of sixty-odd artists, resulting in a frenzied installation that clogged the cabin's heretofore untouched walls with artworks. "It was a scary show," Craig shudders to recall, "and dense. Juliette and I had to share our hatred of it." "But it was important to have someone break our rules for us," Blightman adds. Future "Currency Exchanges" are to be expected, playfully trading i-cabin's artistic worth on the creative economy for the services of equally valued curators and artists. For now, Blightman and Craig have yet another burgeoning project to contend with: i-cabin texts. Part publishing venture and "essentially the same practice defined slightly differently," this upstart has already produced a limited edition publication for the 2006 ZOO Art Fair and a documentary for i-cabin's February and March 2007 exhibition at Cambridge's Wysing Arts Centre. "The film is a collection of interviews with friends, artists and other people somehow connected with us or i-cabin," Blightman explains. "It's basically a group show on film, without any work," Craig adds. "It's an answer to our question about if there's a way for us to have a group show of ideas without asking artists to make anything." Given i-cabin's conceptually minded trajectory, it seemed only a matter of time before art-objects fell by the wayside. "It's nice not having to rely on physical artworks and not having to curate on the basis of physical artworks," Craig remarks. "Especially after lugging bags of art around." i-cabin: profile Tyler Coburn 31/1/2007 Plan B. 1079 words
Press Release: Satellites
SATELLITES Ryan Gander, i-cabin, Ian Kiaer, Simon Popper and Sue Tompkins. Curated by Erin Manns and Francesco Manacorda. September 7 - October 14, 2006 Opening reception: Thursday September 7, 2006, 6-8pm Gallery two Tanya Bonakdar Gallery is pleased to present Satellites, a show that brings together a group of young artists living and working in the UK whose practices demonstrate similarly implied and ongoing relationships with a diverse array of individual references. The exhibition is conceived around an idea of constellations in artistic production - configurations of thoughts, objects, words, images, and references from which, when brought together, a picture begins to emerge. Crucial to such understanding is Walter Benjamin's notion of constellations: configurations made of apparently unconnected and scattered unities drawn together by the power of thought and intuition. Famously developed in his Arcades Project, such a dynamic notion favors a fragile three-dimensional map of evocative correspondences to the linearity of historical narrative. As in constellations, the works in the exhibition suggest rather than impose the connections between the disparate elements, whose relationships are hinted at rather than clearly defined. The proximity between the fragments is articulated through delicate systems of resonances and associations. Once the fragments, quotations, images or thoughts are gathered together a figure or shape appears in the mind, connecting what was before only a portion of sky. Rather than having a single medium or a theme in common, the works in the exhibition share a similar structural interest, a process consisting of a particular associative strategy. All the works assume the shape of conceptual or atmospheric collages, sometimes expanding into a sculptural field, sometimes producing an exhibition within the exhibition. Ryan Gander's work neatly illustrates this tendency, evidenced by the associative nature of his practice both within individual works and in the group gathered here. Simon Popper's series have been developed following a precise web of quotations, in this case from Alighiero Boetti, John Cage, James Joyce and Samuel Beckett. The crux of Ian Kiaer's practice resides between the construction of an elegantly composed sculptural essay and a set for evoking cultural moments and characters. Both in the work of Sue Tompkins and in the micro-group exhibition sub-curated by i-cabin the fragments collected obey an internal logic or an almost obsessive set of rules. In the case of Tompkins' work, we are presented with visual traces of spoken performance, as language becomes form and layers are precisely built up, interrupted and stripped away. With i-cabin, their practice as a whole describes an expansion of the notion of the constellation into the possibilities for artist curated exhibitions, and here the resonances point to i-cabin's extensive network of collaborators. Following the structure of combinatory compositions, Satellites aims to produce a temporary constellation that will allow the works to speak to each other in an unpredictable and subtle way, thereby attempting to create a constellation of constellations. The title for the exhibition reflects both the definition of a natural satellite as one celestial body that revolves around another, held in their respective orbits and in relation to one another by an invisible gravitational force, as well as the definition of the man-made satellite, used most often in the transmission of complex information from one distant region to another. For further information and images please contact Claire Pauley on 212 414 4144 or at: firstname.lastname@example.org
Review of artLedge: To London From Chicago, With Great Love, by Katie Scanlan
To London from Chicago, with great love 7th -23rd July, 2006, i-cabin, London, UK The cramped cubicles known as i-cabin are host to this recent group show, which includes the work of forty artists from Chicago. Situated in northeast London in the Clarendon buildings, i-cabin is one of the few--if not the only--awkward, site-specific gallery spaces in London. Appropriately, this show is the first half of an arranged gallery exchange with Chicago-based artLedge, whose project space consists of a ledge approximately five by ten feet in size, caught between a railing, an angled wall, and a spiral staircase in a Chicago apartment. i-cabin artists, including gallery organizers Juliette Blightman and Sebastian Craig, will be installing a show in Chicago in August; for the London portion of the exchange, artLedge organizers Brandon Alvendia and Caleb Lyons travelled to London with most of the work for the show packaged into suitcases. A few of the pieces were completed, per the instructions of the respective artists, upon arrival in the UK. These were the only parameters artLedge set for the show--that work be small, lightweight, and easily transported by luggage. Despite the somewhat sentimental title of the show, it is a deliberately messy, careless proliferation of work. "No work to be attached to the walls"--this was icabin's rule for their first year of exhibitions. In response, the artLedge show (which marks the eighteenth month of i-cabin's existence) gluts the walls with hanging work, most of which is not framed. Amanda Ross-Ho's Irreconcilable Indifferences, which consists of dozens of xeroxed images affixed with hot pink tape to the walls throughout the gallery's two rooms, effectually destroys the walls and directs the focus towards the more sculptural pieces. The single wall that has escaped her xeroxes is covered instead by Ben Foch's plywood-patterned contact paper, upon which he has written the words "I believe I can fly" in silver ink, rising vertically with the pattern of the grain. The wall that the paper covers is itself constructed out of plywood, but has been painted white. Hanging over the papered wall are five works on paper by Nicholas Chaffin: Norman Rockwell paintings ripped out of a magazine, whose characters Chaffin has delicately and tenderly rendered nude with acrylic paint. This curatorial decision--and in fact the entire show--seems to ask: Is it possible to reduce a thing by adding to it? Can what is lost be recovered? The physicality of To London from Chicago--artwork, curation, and exhibition space together--responds to the commodification of the art world and to the slick, attractively hung exhibitions ubiquitous in contemporary galleries. The excessive and haphazard curation of the show, as well as many of the individual pieces, also critically address American culture, patriotism, and the way in which Americans are viewed by other nations. The opening of the show fell on July 7th: intentionally just three days from the date Americans celebrate their independence from the British empire (and, unintentionally, the oneyear anniversary of the London public transport bombings). The overwhelming temperature of the criticism is light-hearted, self-abasing, and ironic; though Brad Farwell's wall-size inkjet print of an oversized water balloon descending on downtown Chicago addresses the threat of terrorism, it does so in a tongue-in-cheek way, in order to respond to the media-induced paranoia plaguing the United States. For Enduring Independence (4th of July), Kevin Jennings exploded an M-80 firecracker in clay, created a mold, and cast the "explosion" in plaster; the casting sits on a suitcase-turned-pedestal and is flanked by tacky mass-produced frames painted with the stars and stripes, containing digital photographs of fireworks. Sze Lin Pang's The Barbarians Are Coming is a set of two t-shirts (given to icabin organizers and worn the night of the opening) emblazoned with the iron-on epithet "barbarian" in block letters. The humour, the silliness, the intentionally amateurish and sloppy look of the show create a palpable sense of vulnerability within the i-cabin space--a sense redoubled when considering the control given up by the Chicago artists in sending singular representations of their work to be seen by an anonymous audience. The overwhelming effect is that of exposure, of revelation by way of exaggeration: exposing humility beneath brashness, care beneath abandon, sincerity beneath frivolity. By Katie Scanlan
Review of Christina Mackie: How to Begin, by Lupe Nunez-Fernandez
CHRISTINA MACKIE AT I-CABIN i-cabin is a relatively young artists-run gallery off Holloway Road that's been putting on shows for about a year. Presumably operating with a very small budget but working with top-notch collaborators, its two artist directors, Juliette Blightman and Sebastian Craig, manage the gallery as if it were a collective art project, co-conceiving the shows with all guest artists and combining the experimental with well-trained rigour. Artists they've worked with include Alec Steadman, Giovanni Manzini, Margarita Bofiliou, Cerith Wyn Evans and Hannah Watson. They have certainly made the most of their very limited premises two small partially wood-paneled rooms that don't appear to have been given any kind of refurb, just a good scrub. In a former life they may have served as storage rooms; now they're reincarnated as rough and ready white cubes. Though somewhat claustrophobic upon first view, the small humble quarters really work to make the art transform the joint, making it all a larger and a truly enveloping experience. Last Thursday's opening of new work by 2005 Becks Futures winner Christina Mackie is a case in point. In the first room she's created an impressive installation that incorporates two overlapping digital video projections of an industrial rooftop skyline full of antennae and mobile phone reception units with sculptures placed between the wall and the projectors' light, thereby creating shadows that cleverly blend into the scene and give a sense of three-dimensional depth and immersion to the whole affair. The sculptures are rough representations of one of the elements extracted from the video, those ominous mobile phone towers, which Mackie has playfully rendered out of plastic sticks and whatever else she found around her chest of pound shop treasures. There's an inverted dust broom sticking up from one of them, which on the projection become a palm tree, its fronds moving as some air comes into the room. The background sounds of motors and the distant buzz of machinery that flows uninterruptedly through the piece are punctuated by the occasional chirping bird that enters the frame and quickly flits away. Whether we like it or not, we're trapped in the web of artificial electromagnetic waves here created, surrounded by something we cannot even see. I checked my mobile phone for calls and felt caught, sure my thoughts would be surveilled if I remained in there any longer. In the adjacent room Mackie continues the theme of architectural simulacra and freewheeling reconstruction, showing small colour snapshots of roadside huts and seaside gazebos next to stylized versions of the same made out of ordinary materials, a mĂŠlange of play-doh, plastic combs and other tchotchkes and paper, charmingly primitive architectural models reminiscent of archaic religious votives. There's a slightly creepy humanoid shape fashioned out of clay stretched out and garlanded by loose glass beads, next to photographs of the previous room's skyline printed on paper and directly tacked on the wall, furthering the shrine-like feel to the space. Looking through the works in the room once again, they felt like offerings; walking through the installation on my way out, the disturbing thought of unconsciously worshipping the multiple invisible presences infiltrating modern life was hard to ignore. Lupe Nunez-Fernandez Christina Mackie, 'How to begin', to 25 June i-cabin, Clarendon Buildings, 11 Ronalds Road, N5 1XJ Tube: Highbury/Islington, Archway
Press Release: Either Taking it Out or Putting it in, by Pablo Leon de la Barra
WC 3, White Cubicle Toilet Gallery The George and Dragon Public House, 2 Hackney Road, London E2 Press Release i-cabin "Either Taking It Out Or Putting It In" Opening Wednesday February 22, 2006. 8:00 PM to 11:00 PM For a few days only! The George and Dragon Public House is very pleased to present an exhibition curated by i-cabin entitled "Either Taking It Out Or Putting It In". i-cabin is the most exciting artist run space in North London, showing a very cool generation of artists most of them born in the 1980s. i-cabin has operated since October 2004 from a makeshift office in a bookbinding factory in North London where the wooden units look and are named like cabins, due to the fact that the two brothers who own the building used to be naval merchants in the old days. For the evening at the George and Dragon, i-cabin will be planting a tree in the White Cubicle, this is to stay there until Friday. There will also be some interventions within the pub, two functional chairs especially designed for the pub, i-cabin beermats and a lightbox in the window. Rich Cash from Xerox Teens will be in the DJ booth! i-cabin has shown the work of Mathew Incledon, Alec Steadman, Darren Norman, Giovanni Manzini, Juliette Blightman and Sebastian Craig. Other artist's they have worked with include; Margarita Bofiliou, Christina Mackie, Chris Bird, Ian Evans, Anthony Silvester, Brandon Alvendia, Amy Sharrocks, Cerith Wyn Evans, Anonymous, Lloyd Sowerbutts and Hannah Watson. They also did a Project for Zoo Art Fair in 2005. The director's of i-cabin are Juliette Blightman and Sebastian Craig. All projects are funded exclusively by i-cabin and its collaborators. Juliette achived notoriety at the George and Dragon soon after her first visit two years ago, when her beautiful blonde curly hair went up in flames accidentally lit by Mr. Cerith Wyn Evans. This was I-cabin's first art contribution to the George and Dragon. We hope this performance is not repeated tonight. The White Cubicle Toilet Gallery measures 1.40 by 1.40 metres, is located within the Ladies Toilet of the George and Dragon, and works with no budget, staff or boundaries. White Cubicle has become one of the East End's most exciting and ambitious exhibition spaces, presenting a discerning programme of international manifestations as an antidote to London art world's post-romantic art scene. Past exhibitions have shown the work of Deborah Castillo, Gregorio Magnani, Butt Magazine, Federico Herrero and Terence Koh. next exhibition at i-cabin Adrian Hermanides: Blackson i-cabin , Clarendon Buildings, 11 Ronalds Road, London N5 1XJ www.i-cabin.co.uk
Becks Futures nomination text, by Francesco Manacorda.
i-cabin is a conceptual project space and an unconventional art production hub conceived as a single artistic gesture. Unlike more traditional artist-run spaces, i-cabin inserts its own artistic practice within the conception, production and presentation of art. The three artists who run it do not see themselves as an artists group; rather they make the management of the gallery a medium for their collective artistic interventions. This occurs on different levels, starting from a set of rules that they impose on themselves and the exhibiting artists (the strictest of which involves no hanging on the walls for the first year of programme), to a curatorial position that aims to question their role of artistic mediators. Such an approach combines playfulness and rigour in the experimentation conducted over a period of time with the codes and conventions of the gallery. Their projects range from mischievous approaches to curatorial systems(Bring your Own / Resource, an exhibition in which artists were invited to take their own work to the storage room so that i-cabin could install impromptu exhibitions lasting few minutes as a resource for the visitors to get inspired) to Gesamtkunstwerk installations (the Zoo Art Fair intervention was thought as a i-cabin retrospective in the form of a single assembled sculpture) to the specific conceptual architecture of the programme. This latter is divided into two strands running concurrently: Year One consisting of presentation of young artists asked to deal with the gallery's set of rules, respond to it and perhaps even push it further; and Year Two, conceived for more established artists under the condition that they would expand their practice beyond their known way of working. i-cabin infiltrates the system of art production and consumption as a virus and works with it in a complicit and critical way. Institutional critique takes the form of a playful and irreverent performance in their way of working. The use of a set of rules allows a slight displacement to take place within the gallery's relation of production. This conceptual intervention functions both as an artistic and critical position to occupy. In this perspective, i-cabin elaborates further on the idea of the 'artist as gallerist' that in a completely different fashion Maurizio Cattelan has been exploring with the Wrong Gallery as an extension of his art practice.
i-cabin(texts): Terror and Aesthetics, by Richard Jones Touching Architecture, by The Jan Press Hello Sebastian...did you say A4? I'm Human Now. You're Human Later. Mythologies Notional Architectures What is it? (DVD) Z006