FINE ART MA CURATING
CHELSEA COLLEGE OF ARTS POSTGRADUATE SHOW 2015 1
The Kupambana Foundation The Kupambana Foundation is delighted to sponsor the class of 2015 from Chelsea College of Arts. Kupambana was founded by LEWIS PR, a global digital communications agency, to connect the creative arts with communications. The Foundation spans the worlds of the creative arts and the communications industry by sponsoring the most outstanding creative talent through education and career development. It helps train students and professionals and carries out insightful research into the creative industries globally. To find out more visit www.lewispr.com/kupambana
Design Sarah Faulkner Ambika Subramaniam Proofreading James Pimperton Rachael Nee Regan O’Callaghan Rosemary Cronin Kelise Franclemont Printing Servicepoint, London
A D A M Z O LT O W S K I AELEE KO ALEX ROBERTS ALEXANDRA EPAMEINONDA ALISHA THAKUR AMBIKA SUBRAMANIAM ANA CAROLINA RODRIGUES ANDREW RICKETT ANGELOS KALOGERIAS A N N A M YA G K I K H ASMAA ALANBARI BIJAN DANESHMAND BINGYI FENG BO WU BOMIN KIM CAROLINE BROSSARD C H A N G YA N G CHRISTOPHER BAGNALL CHRISTOPHER WARD CORIN WHITELAW-RENNOLDSON DANIEL GOODCHILD DANQI ZHANG DAVID ICKO DIMOS KIPOUROS E R I C A K AT S U R A G I FA R Z A D S A D E G H I FRANCES HOGG GABRIEL MOLINA GEORGIE
GEORGIA HOLLANDS GEORGINA HODGSON GERARD CARSON GRIGORIOS MYRGIOTIS HAN BAI HAN NA BAE HILLARY SMITH HUANGLU SHI HYEJIN KIM I S H I TA JAMES PIMPERTON JHENI ARBOINE JENNIFER IPEKEI JIAWEN LUO JIYEON SHIN JOANA CASILLAS GROBA JOHN TEDDY CHAN J O N AT H A N G O R D O N J O N AT H A N S L A U G H T E R JOSEPH LICHY JULIAN MCSWEENEY JUSTIN RANG KAI GUO KAVEH OSSIA KELISE FRANCLEMONT LAURA SOLOMONS LILI MA L I L I TA N G 6
LINDA VIGDORCIKA LOUISE WHEELER LUCA FREDERICI LUN REN M A R I TAYA M A MARIA JOSE CARVALLO M A R I LY N C O L L I N S M E I YA O WA N G MELINA ANDREOU MICHAEL WILLIAMS MILES COOTE MIN HAE KIM N A J AT B A S S M A N E I L FA R N A N PAUL ABBOTT PEI-HANG HUANG POOJA AGGARWAL RACHAEL NEE R AY M O N D B R A Z I E R REGAN O’CALLAGHAN ROSEMARY CRONIN RUORU WANG S A R A H FA U L K N E R SANG JUNG SCARLETT BOWMAN SEULGI KANG S E U N G W O N YA N G SHADI MAHSA 7
SHUWEN WANG SODAM CHOI SOMIN KIM STEPHEN HENNESSY SUN-JUNG KIM SUNING WANG TEODORA PASQUINELLI TIANHAO CHEN WEI-JEN LAI WILLIAM COSTELLOE WILLIAM LOFTIE WINNIE CHAN XUETING SHAO YEHEE LEE
Smurfs’ leg Polystyrene, wheelbarrow, polyurethane, resin, jesmonite. dimensions variable.
A D A M Z O LT O W S K I www.flickr.com/photos/adamzoltowski email@example.com 8
Oil Fabric dye, acrylic, oil and pastel pencils on silk organza, 120x 140cm 2015 Murmur Mixed Media 2015
alexroberts9.blogspot.co.uk / alexroberts.com firstname.lastname@example.org
Vogue meets the Society of the Spectacle One A0 poster One A4 magazine Issue
ALEXANDRA EPAMEINONDA www.aepameinonda.com
Untitled Pen on paper 2015
ALISHA THAKUR https://www.facebook.com/alisha.thakur.37
Wood and blue pigment 280x1x3cm 2015
AMBIKA SUBRAMANIAM ambikasubra.com email@example.com
ANA CAROLINA RODRIGUES www.anacarolinarodrigues.com firstname.lastname@example.org
rdc-brc-fc-mci-fbf’15 Bioplastic, Found Dust/Detritus, Found Metal Structure (recomposed), Paper, Pigment, Plaster, PVA, 120 x 100 x 60 cm 2015
ANDREW RICKETT www.andrewrickett.co.uk email@example.com
dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys function
ANGELOS KALOGERIAS cargocollective.com/angelkal
Wooden step ladder & 100painted cigarettes 100cm x 60cm June 2015
ANNA MYAGKIKH www.anyamyagkikh.com firstname.lastname@example.org
Photographic print limited edition 2015
ASMAA ALANBARI www.babylon-art.com email@example.com
Stories of your life and others Mixed media Variable dimensions 2015
40 x 40 cm Oil on canvas 2015
BIJAN DANESHMAND www.bijandaneshmand.com firstname.lastname@example.org
BINGYI FENG www.fengbingyi.tumblr.com email@example.com
Group Photo Collage 594 x 841mm 2015
Acrylic on canvas 61 x 61xm 2015
Watching Me Watching You
Film still 2015
Collage and painting 2015
CAROLINE BROSSARD www.flickr.com/photos/caroline_brossard/
CHANG YANG changyang.simplesite.com firstname.lastname@example.org
This is not about you, you egomaniac Destructive performance as Mud 2015
CHRISTOPHER BAGNALL www.christopherbagnall.co.uk email@example.com
First Communion (Mode Direct) Steel Rod, Textiles, Wool and Spray Paint 76 x 93cm 2015
CHRISTOPHER WARD www.facebook.com/Christopher-Ward-Artist firstname.lastname@example.org
Baltimore Mild steel, iodine magnets 250 x 130 x 120 cm
CORIN WHITELAW-RENNOLDS cargocollective.com/corinwhitelaw-rennoldson email@example.com
Deconstructing Construction Vauxhall 220cm x 180cm Oil on Canvas 2015
DANIEL GOODCHILD www.danielgoodchild.com firstname.lastname@example.org
Repeating path ink painting 2mx2m three pieces 30cmx1.5m material
DANQI ZHANG email@example.com
13x23x23cm mixed media
DAVID ICKO www.davidicko.com firstname.lastname@example.org
Chaosmosis III 180 cm x 150 cm, oil on canvas
DIMOS KIPOUROS www.dkipouros.com email@example.com
Digital Image / Audiovisual installation
ERICA KATSURAGI Erica.Katsuragi@gmail.com
20 panels of 70x50cm, ink and acrylic on digital print
Green Blob Acrylic and spray paint on canvas 200cm x 165cm
FARZAD SADEGHI www.farzed.com firstname.lastname@example.org
FRANCES HOGG www.franceshogg.co.uk email@example.com
Digital Film length unknown 2015
Chromolith I digital print on polypropylene vinyl 61cm x 91xcm
GABRIEL MOLINA gabrielmolina.tumblr.com firstname.lastname@example.org
GEORGIA HOLLANDS www.grghllnds.tumblr.com
GEORGINA HODGSON www.georginahodgson.net email@example.com
MISS --- HIT Mixed media, VHS player, VHS cassette, 16â€™ flatscreen television, audio cassette player, water bottle, cardboard tube, scrap wood 2015
Flowerbeds 16.5x24cm 2015
GERARD CARSON www.gerardcarson.tumblr.com firstname.lastname@example.org
GRIGORIOS MYRGIOTIS www.grsgmgsrt.tumblr.com email@example.com
Look at me
water color on canvas
61 x 61 cm acrylic on canvas 2015
HAN BAI firstname.lastname@example.org
HAN NA BAE email@example.com
Dimensions variable, ceramic and mixed media
HILLARY SMITH hillarypaigesmith.com firstname.lastname@example.org
Made In China
5 minutes Video June 2015
HUANGLU SHI email@example.com
Untitled Mixed material on pigment print 2015
Letting it go..... Still picture from video June 2015
3 Units Oil on Linen 12.5x15cm 2015
Goodnight Tobacco Mixed media 130x150cm April 2015
JENNIFER IPEKEL www.jenniferipekel.com firstname.lastname@example.org
cement, plaster, ceramic
JIAWEN LUO www.jiawenluo.tumblr.com
Video-performance June 2015 Still in Life #1
112 x 127cm Oil on wood
JOANA CASILLAS GROBA
You are the real MVP (Most Valuable Plinth)
Henry Moore courtyard plinth, Replica of Henry Moore courtyard plinth, Painted WoodÂ Project Proposal
JOHN TEDDY CHAN www.JohnTeddyChan.com JohnTeddyChan@hotmail.com
Uncle Bill Fun House Still from Video Installation 2015
JOHNNY GORDON www.johnnygordon.com contact@johnnygordon
Environ Polyvinyl chloride PVC 400cm x 300cm x 200cm April 2015
Scenes from the life of Kenneth Anger
Graphite on paper 29.7 x 42 cm
JONATHAN SLAUGHTER jonathanslaughter.uk email@example.com
JOSEPH LICHY www.josephlichy.com PAZ Fanzine | A myblog.arts site firstname.lastname@example.org
digital film, 4 second continuous loop
JULIAN MCSWEENEY email@example.com
The essay film. Collection of our memory. In the French tradition
25 minutes (approx)
JUSTIN RANG www.justinrang.com firstname.lastname@example.org
installation of wood and paint dimensions vary
KAVEH OSSIA www.kavehossia.com email@example.com
A walk through Palestine (collectable, artefact, relic, souvenir) installation of printed posters, sound, digital film, and found objects duration varies
KELISE FRANCLEMONT www.kelisefranclemont.com firstname.lastname@example.org
Video Still 2015
Marker pens, pencil, glue
LAURA SOLOMONS laurasolomons.com email@example.com
LILI MA cargocollective.com/lilima firstname.lastname@example.org
Trace 200cm x 150cm Acrylic on cavas
Wood, metal, lacquer 300x500x400 cm
The Absent Voice
LOUISE WHEELER www.louisewheeler.com email@example.com
I am (not) here
Oil on canvas 170 X 140
LUCA FREDERICI www.lucafederici.co.uk firstname.lastname@example.org
LUN REN www.ren-lun.com email@example.com
Coloured tape 3.5 x 4m
MARI TAYAMA firstname.lastname@example.org
Installation of paper, plastic, wood and a tree
MARIA JOSE CARVALLO cargocollective.com/mariajosecarvallo Josecarvalloa@gmail.com
Lost Rivers Project plaster polymer, plaster, polyester foam, lavender stems, beech masts, electric cable, projected image, wood
M A R I LY N C O L L I N S www.marilyncollins.co.uk
The Secret I
Digital Video Still
Oil on board 20.5x25.5cm
MEIYAO WANG www.wongmu.com email@example.com
MELINA ANDREOU www.melinaandreou.com firstname.lastname@example.org
Bareback the Precariat
Live Performance at Hashtag, Bethnal Green Working Men’s Club Mike Brown Obama
Concrete/acetate 8’X4’ 2015
MICHAEL WILLIAMS www.mrmwilliams.co.uk email@example.com
MILES COOTE www.barebackmuseum.ning.com
I don’t speak English
Installation of business cards each 6x9cm
MINHAE KIM firstname.lastname@example.org
NAJAT BASSMA email@example.com
Looking Back to Utopia
painted steel 85x160x50cm
NEIL FARNAN www.nf-portfolio.weebly.com firstname.lastname@example.org
Do You Remember Our First Kiss?
(video still) 2 channel video/sound installation, dimensions variable
PAUL ABBOTT www.pabbott.net Info@pabbott.net
Apocalypse 2 76x60cm Oil on Canvas 2015
ceramic vase, hair, sound
PEIHANG HUANG www.peihanghuang.com email@example.com
POOJA AGGARWAL www.poojaaggarwal.com firstname.lastname@example.org
Party Girl (detail)
2.5m x 2m x 1m, clay, balloons, elastic, water
RACHAEL NEE www.rachaelnee.com email@example.com
Promotional flyer for video installation
RAY BRAZIER firstname.lastname@example.org
After Ladies’ Paradise
Site-specific installation and performance
REGAN O’CALLAGHAN www.reganocallaghan.com email@example.com
Performance at The Wallace Collection, London
ROSEMARY CRONIN www.rosemarycronin.co.uk firstname.lastname@example.org
Lunar mare Photograph 2015
RUORU WANG www.ruoruwang.weebly.com email@example.com
Invocation String Installation 2015
SARAH FAULKNER www.sarahfaulknerstudio.com firstname.lastname@example.org
36 x 150 x 38 cm
SANG SUB JUNG http://cargocollective.com/subi email@example.com
Latex, pigment, wool 130cm x 230cm
SCARLETT BOWMAN www.scarlettbowmanstudio.com firstname.lastname@example.org
Welcome 70x300cm Mixed media 2015
Act 3 Scene 2 Robin-Hood Garden
C-print mounted on plexiglass 120x180cm
Performance 40 minutes
A Woman with a Thousand Faces, 2013- 2015,
A series of 50 photographs, 20x30 cm and film of 20 min.
SHADI MAHSA www.shadimahsaart.com
SHUWEN WANG email@example.com www.youtube.com/channel/UCERxmyM6HO4kPLHw7Kuu7Sw
Roving the dream world
Pencil on paper
Evening Standard 4m x 3m Newspaper & paint 2015
SODAM CHOI www.sodamchoi.com firstname.lastname@example.org
SOMIN KIM email@example.com
One or Two of An Evening
160x120cm, oil on canvas 2015
STEPHEN HENNESEY www.stephen-hennessy.com firstname.lastname@example.org
297 x 420mm Mixed Media 2015
SUN-JUNG KIM www.sun-jung.com
Giordano for Goldsmiths
84.1 x 118.9cm digital print on paper
SUNING WANG www.artistsuning.com email@example.com
TEODORA PASQUINELLI firstname.lastname@example.org
Wind Installation 80x40x170cm Mix-media May 2015
WEI-JEN LAI laiweijen.wix.com
WILLIAM COSTELLOE williamcostelloeartist.weebly.com email@example.com
42x59cm, poly film photographic print
WILLIAM LOFTIE www.williamthomasloftie.com firstname.lastname@example.org
WINNIE CHAN www.chanwinnie.com email@example.com
Nobodyâ€™s home Various sizes Mixed media 2015
XUETING SHAO firstname.lastname@example.org
The Intangible #4, #4-2] oil on canvas 132 x 82 cm x each 2015
YEHEE LEE www.leeyehee.com email@example.com
CURATING & COLLECTIONS
A N A S TA S I A PA PA O N I S I F O R O U ASHLEY FERNANDEZ BINNAZ GÜL YETER BRYONY WRIGHT C H E R I E S I LV E R CHIALING CHU DAEUN BACK FA B I A N S T R O B E L GABRIEL LOY GIULIA PONZANO GRACE ACTON ROBERTS HEDIA SONG HUITING LI (李慧婷) J I AY I L U KITTIMA CHAREEPRASIT KYLE CHUNG MONIKA NORSE (ANTONOVA) N A V Y C H U N G H . T. OXANA SMIRNOVA R O B E R TA VA C C A SARA ELMASRI SOPHIE PRADERE WO ZHANG YANG CHEN YANG YANG YUAN CHAO
firstname.lastname@example.org ANASTASIA P A P A O N I S I F O R O U
Re-exhibiting Gary Woodley’s site specific and site responsive mural drawing is an attempt to account for art history’s relation to time, through the discourse of re-enactment. This exhibit within LIVE evokes CHELSEA space’s first exhibition, Gary Woodley: Impingement no.47, curated by Donald Smith in 2005. It is a representation of time, memory and openness. 108
The curatorial outline examines the ephemerality of exhibitions, while enhancing the artist’s methodology of ‘imposing one situation onto another’. The recreated Ellipsoid (2005) reveals the complexity of the relationship between exhibition making and the history of Chelsea space, creating a dialogue that addresses the relation between present and past.
A S H L E Y F E R N A N D E Z ‘I’m noticing a new approach to art making in recent museum and gallery shows […]. It’s an attitude that says, I know that the art I’m creating may seem silly, even stupid, or that it might have been done before, but that doesn’t mean this isn’t serious.’ Jerry Saltz, ‘Sincerity and Irony Hug It Out: At P.S. 1’s “Greater New York,” a new union of opposing attitudes’ New York Magazine (27 May 2010).
Inspired by Timotheus Vermeulen’s and Robin van den Akker’s artistic/cultural theory of Metamodernism, the display intends to explore the construction of artistic value. The two works of Camberwell Alumnus Harry Hurlock (BA Hons Fine Art 2014), King Charles II (2015) and Gold Bars (2015) intend to start a satirical dialogue with the viewer which questions the concept of canons in art. 109
B I N N A Z G Ü L Y E T E R Ayşegül Turan LIVE is an exhibition, including an artwork of a young Turkish artist to promote her creative potential in contemporary art and its connection to London. Turan mainly uses iron and magnets for her metal sculptures. Being interested in magnetism as a natural phenomena she is intrigued by its presence in different layers of existence and its sensory expe-
riences. The combination of Turan, Lyndall Phelps and Sachiko Kodama in this exhibition is a mixture of cultural-identity, materialism and space-relation.
B R Y O N Y W R I G H T Along the wall of the ramp in CHELSEA space is a kimono. The kimono is green and purple with a traditional Indian paisley print. The kimono is 100% silk created from recycled Indian saris. The designer of this garment is Lucy Brickwood. Brickwood studied fashion design leading her to train in tailoring on London’s Saville Row. Brickwood created her own brand ‘Violet Elizabeth’, in which she creates unique handmade kimonos and loungewear from
recycled sari silk. The money used to purchase the sari silks is contributed to community projects in India. Displaying this kimono, the audience is able to see the construction and appreciate the time and effort that has gone into making this garment and that the fabric has a chance for another life. You can see that it’s had a life of its own, and then you’re letting it do something now.’ (Lucy Brickwood)
C H E R I E S I LV E R Perceptible Invisibility I & II (2015) by Lyndall Phelps, encourages repetitive interaction with the installation, creating a unique environment in the LIVE exhibition. The work investigates the force of magnets and is an example of Lyndall Phelps’ artistic practice based on research, experimentation, and a playful relationship between aesthetic and concept. The collaboration between Cherie and 112
Binnaz Gül Yeter for the LIVE exhibition resulted in further research into artists who have worked with magnets. Japanese artist Sachiko Kodama has worked with ferrofluid for over ten years, and her video work, Breathing Chaos (2005), alongside the works of Lyndall Phelps, Turkish artist Ayşegül Turan, and Gary Woodley creates movement and tension within CHELSEA space.
CHIALING CHU Curator Chialing Chu and artist Linda Vigdorcika have collaborated with the aim of exhibiting the unexhibitable. Based on a performance made by artist Vigdorcika in Richmond Park in December 2014, the display invites discourse on the possibility of reviving artwork that can only be presented in a specific environment and occasion. By recreating the natural environment in
the gallery space, this exhibition aims to provide visitors with different readings of the artwork created in a different media. The concept of exhibiting the unexhibitable is strengthened by the sixmetre tall reconstructed tree installation that can barely fit in the gallery space, alongside the documentary video of the performance.
Photo courtesy of the artist
D A E U N B A C K Living Creature T h e d i s p l a y L i v i n g C re a t u re s h o w s David Batchelor’s (b.1955) Electric Colour Picture (2002) in CHELSEA space. This is the first time that this piece will be loaned from the Chelsea Special Collections and displayed in CHELSEA space. In this exhibition, DaEun is showing how industrial debris can live in the exhibition space as seen in the exhibited work, 114
F A B I A N S T R O B E L
Le Recrace Tel Quell Electric Colour Picture. In his work Batchelor uses salvaged debris, such as trolleys, shelving units and factory scraps. He transforms them into artworks a n d g i v e s t h e m n e w l i f e . T h e artwork is presented as a living creature; electricity feeds it from the plug in the wall and is live when switched on.
Curators are confronted with the challenge of how to exhibit ephemeral, conceptual practice in an institutional context. Core concepts including liveness, the artist’s presence and the requisite for an audience are not to be neglected. The display Le Recrace Tel Quel l creates an aftermath of the performance of Iranian artist Shadi Mahsa (MA FA) and her piece A Woman With Thousand Faces rather than
showcasing the actual performance. The display title refers to Jean Baudrillard’s term ‘le recrace tel quell’ – spit it out as it is – to describe the effects of simulation in Simulacra & Simulation (1981). The exhibit features a dress worn by the artist during the performance and transcripts. These objects simulate the performance, conveying the liveness of the interaction forming a new platform for performativity. 115
G A B R I E L L O Y
The Blues to the Bush (1999) by graphic designer Richard Evans was first exhibited in Red White and Blue (2012) at CHELSEA space. The piece has an aesthetic connection with the term LIVE and it was designed as the album cover for British rock band The Who’s Live album, The Blues to the Bush. This display brings together imagery 116
derived from music, design and British Pop Art, with artists such as David Batchelor, Lawrence Weiner and Josef Albers. Gabriel Loy’s academic research focuses on the materiality of archived ephemera within the field of modern and contemporary British art and galleries.
‘LIVE is a circle. Live, die, then reborn.’ For LIVE Giulia Ponzano has collaborated with the Berlin-based visual artist Marcel Schwittlick, whose work incorporates programming, art and technology. Propeller II is an endless generative drawing, recalling the eternal cycle of life. This infinite series of pulsating patterns and colourful contrasts are conceived in real time from a computer software. This generative approach gives the
computer a degree of freedom in the creation of the piece. Set within the boundaries laid down by the software code, generative refers to the visual output being different every time the application is run. Propeller’s visual loudness is counter balanced by the absence of sound: the encounter with this digital work is an immersive contemplation that is rhythmic, bright and alive. 117
Photos courtesy of Juli Watson
G R A C E A C T O N R O B E R T S Milk Milk is a mixed media display showing archival material from artist Nicola Canavan’s performance Milk. Conceived as a political intervention, the performance has taken place in a range of public environments across the UK. Canavan describes her work as a response “to the fear of the functioning body and the othering of mothers, in particular the milking mother.” For the performance 118
Canavan is seated in a shop window, veiled with flowers, using a breast pump to express milk. Surrounded by symbolic objects resembling a vanitas still life painting, Canavan ritualises the act of breastfeeding. Grace Acton Roberts’ research interests centre on feminist maternal art practice and curating the personal.
When we talk about films, we always use the present tense; they could be ‘live’ anywhere at anytime as long as there is a spectator - and this is also true for life. Among film directors of the 20th century, Kubrick particularly urged spectatorship; his early career as a photojournalist had had a fundamental influence on his perspective on film.
The photographs chosen for this exhibition were selected as they present and relive the ordinary life scenes in the past. They were taken by Stanley Kubrick during 1947-50 for the Look magazine.
HUITING LI (李慧婷)
In the LIVE exhibition, Huiting Li curated two paper artworks by the artist Claire Brewster, It’s Up To You (2013) and Goodbye Paris (2013), as well as the book collection from the same artist, which originates from The Oxford Atlas (1940). Brewster’s inspiration comes from nature and she crafts paper sculptures by cutting up out-of-date maps and atlases. The map cut-outs are pinned to create 120
light and shadow that reflect a feeling of movement. Some pages of the book collection on display are missing because the artist has removed them in order to make her map sculptures.
The objects curated in this exhibition are an enlarged puzzle and Chinese calligraphy in ancient characters. These objects form the artwork Burr Puzzle (2015), by contemporary Chinese artist Kaiyan Yu, displayed in the entrance of the Cookhouse Gallery.
mortise-and-tenon joints. This interlocking structure was widely used in the ancient Chinese furniture and architecture. The content of the calligraphy is the description of burr puzzles and how to solve it. It has been quoted from the first Chinese magic book printed in 1889.
Burr Puzzle is an interlocking puzzle, consisting of 6 pieces of pinewood with 121
K I T T I M A C H A R E E P R A S I T
The Book of Live is an artists’ books that intends to explore the term, definition and meaning of the word ‘live’. Seven artists were selected and given 8 pages within an A5 size book, and one artist is commissioned to design the cover. This book was published by CHELSEA space in an edition of 150 copies. The work will be on sale for £10 per copy 122
at CHELSEA space and alternative art book shops. The Book of Live is a part of Kittima’s critical research on the utilisation of artists’ books in contemporary art curating: artwork turns exhibition.
K Y L E C H U N G
When A Circle Meets The Sky (2012) by Carla Chan and Occupied (2000) by Peter Downsbrough fully embody two different approaches towards the form of moving image. The former delivers an immersive experience of a natural desert landscape, with the extended vision outside the four-edged screen. The latter makes efficient use of the conventional cinematic features, such as the screen and manually
directed camera movement, in order to deliver an urban visual of modernity, the aesthetics of geometry and single/twopoint perspective. Both video pieces provide a distinct contrast that re f l e ct s o n t he re la t io ns hip b e t w e e n nature, technology and human agency.
Photo courtesy of the artist, New York
MONIKA NORSE (ANTONOVA) The Skoghall Konsthall Skoghall is a small town in Sweden, without any exhibitions of art and a lack of cultural institutions, where everything was built by the paper mill. Alfredo Jaar designed and built a new Konsthall, and within it curated an inaugural exhibition that included the works of 15 Swedish artists. Konsthall was opened by the mayor and burnt to the ground 24 hours later. 124
Three photographs of the installation show a life circle of the “public gallery” and are illustrated by the initial story of Jaar’s project.
Skoghall Kunsthall (2000) Public intervention
N A V Y C H U N G H . T.
Within the main concept of the exhibition LIVE, Navy uses still life and interaction with the audience to show live in both humanity and in the natural world. This idea is expressed through the project Architecture of Digestion, which multidisciplinary artist Yussef Agbo-Ola has been developing. To engage the audience and reflect on the metabolic process, Yussef proposes to transform food into an architectural
material taking form and structure in the viewer’s digestive system. The context is about food and the way people relate to it as a way of understanding environmental perception; he has made a cellulose based dehydrated bio skin from the juice of food waste, their urine, and Algae as a way of imagining the tension between internal disposal and environmental conditions.
O X A N A S M I R N O V A
The Triptych Photobody:Vova (2012) by Fyodor Pavlov-Andreevich is a performative photo-installation, consisting of one central image and two mirrored sideimages of the character, whose name is Vova (Vladimir). The central image shows Vova full size lying in a pose of crucified Christ. On the side-images we can see in details the expression of his face. The work is constructed as a Russian 126
Orthodox icon. The audience is allowed to keep the side-doors of the icon open or closed, therefore, being responsible for the workâ€™s presentation and perception of it by the next viewer. The visitors step up on the podium activating the work, which underlines a performative aspect of the art piece.
Perpetual Motion is a collage of photographs, shown with the accompaniment of the soothing voice of the artist, taking his audience through a stream of consciousness, to bring them to the realisation that the only thing that matters is the here and now, as the perfect time to start our lives.
been an inspiration to her curatorial ideas and practice, focusing on audience experience of artworks and often connected to live art.
Robertaâ€™s personal journey ends in the Cookhouse with this artwork, which has 127
Courtesy of www.seditionart.com Film courtesy of SHOWstudio
This display features the fashion film Black: 2015 created by British fashion photographer and film director Nick Knight, produced by SHOWstudio. In London in 2004, British fashion designer Alexander McQueen (1969-2010) presented Black, a show re-staging some of the defining moments in his catwalk presentations. Knight photographed backstage. Although collaboration between McQueen and 128
Knight was intended, the photographs remain archived. To celebrate Savage Beauty, SHOWstudio created an image comprised of these never-before-seen photographs. The image is brought to life in this 2min 22sec fashion film. Exhibiting Black: 2015 conveys fashion in its most ‘live’ form: in motion.
Sophie Pradere’s curatorial practice is based on new media art and art practice in the digital age. For this exhibition Sophie has chosen a digital work by Peter Saville, a pivotal figure in graphic design and style culture. This digital work, After Closer, was originally conceived as a limited screen print edition for the Postmodernism exhibition held at the Victoria & Albert Museum. It directly references Closer, the
last album recorded by the iconic English rock band Joy Division, (1980, Factory), following the death of lead singer Ian Curtis. After Closer is exhibited in dialogue with artworks by David Batchelor (Electric Colour), Richard Evans (The Blues to the Bush) and Joseph Albers (Homage to the Square).
The Dream Mark of the Mountain —New Chinese Porcelain Art by Guojun Zhang Under the smooth and cold surface of porcelain, the energy of brushstrokes flow. Guojun Zhang has this kind of power in his porcelain painting works, which combine traditional Chinese ‘山水 shan shui’ (mountain and water landscape) painting techniques with Western abstract art and surrealism. In traditional Chinese philoso130
phy, ‘live’ is the strong spirit that one holds inside. The artistic style of Guojun Zhang is like water, the softest medium as well as the strongest. The artwork shows the flowing vitality of abstract brushstrokes and the raw energy of nature through the interaction and unity of dynamic and static. It also demonstrates how ancient Chinese painting techniques have evolved in contemporary art.
The Reborn: Experiencing Ancient Chinese Commercial Signets exhibition reproduces the signet stamps from the original scroll, which provides the opportunity for visitors to stamp every signet. The ancient Chinese commercial signet is a type of seal which is usually stamped on the receipts or contracts of commercial premises or banks as an anti-fraud device.
Some of the patterns on the signets have developed into contemporary trademarks. Due to the fragile wooden materials, the only extant signets were mainly made between the 16th and 19th centuries. Their pattern design contains the cultural values of ‘integrity’ and ‘originality’, which should be noticed by the public.
YANG YANG Yang Yang’s research is about perceptions of text-based conceptual art. The aim of this exhibition is to confront the viewer with varied attempts to challenge or reinterpret the tradition of art through manipulating language. It will discuss Chinese “pseudo-calligraphy” made by conceptual artist Xu Bing in the 1980s, which was a very important period of time for the emergence of Chinese contempo-
rary art. In terms of showing the Lawrence Weiner text-based conceptual art along with Chinese contemporary calligraphy, a question of how to approach these texts with a conceptual perspective will be open to exploration.
YUAN CHAO Fashion in the Woods Within the LIVE exhibition in the Cookhouse Fashion in the Woods is an artistic fashion exhibition. It displays works by textile designer Zimeng Zhu and MA Textile Design student Hyemi Ku. This display highlights the skill of the designers and raises the question of what can be defined as artistic fashion.
The velvet top and organza skirt are both from Zimeng Zhu’s Wonderland Collection (2015), which is about the origin of life. Hyemi Ku’s two embroidered works and four knitting samples are inspired by visual features of ‘phobia’, creating a juxtaposition between the unconscious and conscious, cause and consequencnces, psychological and physical.
CHELSEA COLLEGE OF ARTS University of the Arts London 16 John Islip St, London, SW1P 4JU 020 7514 7751 www.arts.ac.uk/chelsea
Published on Aug 19, 2015
The show catalogue for MA Fine Art and MA Curating & Collections at Chelsea College of Arts (Part of University of the Arts London). This c...