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  • Review: Exquisite Corpse, Fuse Art Space, Bradford | Corridor8 —
    on the ground we see a video of a man on a train his figure framed through Garnes legs and skirt The video points to the gendered structures of vision and power and transforms them into something that gives us access to the experience of women in public Rupi Kaur s work offers us another perspective on power and classification through images which are or are not deemed suitable for public consumption The exhibition presents six photographs from Kaur s 2015 Period series alongside a poetic and powerful letter that Kaur wrote to Instagram following the twice deletion of her photograph from the series from the social media platform The photograph in question which is on display depicts a woman lying on a bed facing away from the camera with a clear period stain on her grey coloured tracksuit bottoms Kaur s letter fervently remarks on the kinds of images of women that are deemed acceptable it reminds us of the patriarchal unconscious and misogyny that governs the internet Yet against all of this Kaur s photographs are striking and tender depictions of the lived experience Several works offer humour as a vehicle for critique and Kate Durbin s video Hello Selfie 2014 stands out as a humorous exposition of selfie culture and image sharing Drawing on the teen Tumblr aesthetic and what Durbin calls the girl gaze the video documents a performance that saw a large group of women dressed in white underwear pastel wigs and adorned in Hello Kitty stickers stage a mass selfie taking session in public The performers constant meowing becomes an overbearing soundtrack for the events hyper narcissism set alongside a bewildered yet entranced public response In a white curtained screening room work by Evelin Stermitz Sheena Patel Faith Holland and Anastasia Vepreva are shown

    Original URL path: http://www.corridor8.co.uk/online/review-exquisite-corpse-fuse-art-space-bradford/ (2016-02-15)
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  • Review: Lucy Beech ‘Me and Mine’, The Tetley, Leeds. | Corridor8 —
    minutes This is not an overt disruption but a gentle questioning of the orchestration of reality There is something elusive about the truth that within the context of the film means other concerns and questions are given the space to be examined The narrative follows Vivian who works for Co operative Funeral Care The first shot of Vivian depicts her standing at a window at her work As she tears up strips of white cotton she looks out of the window at the men working on the cars outside We hear the clear sound of cotton ripping and the sight of small particles of dust moving in the light Like most of Beech s cinematography it is an impeccable and beautifully composed scene that has a contemplative and poetic quality In particular this scene recalls the style of the 17 th century Dutch painter Johannes Vermeer whose paintings often depict a woman stood at a window bathed in light Invoking Vermeer in this striking tableaux also introduces the film s examination of the classic problem of image of woman discussed eloquently in Naomi Pierce s accompanying essay as she quotes Angela Martin from a 1979 article for Feminist Review saying Are we looking for images of real women or films which are really about women The main part of the film follows Vivian as she attends a Good Funeral Awards weekend for the funeral industry Through her wonderfully stoic demeanour the film explores the experience of what it is for women to be with other women Vivian s face gives little away amplifying those around her and thus offering us insights into the network of women funeral specialists Sound here plays a key role in exploring these relations and an interesting layer of the film The chatter of the women

    Original URL path: http://www.corridor8.co.uk/online/review-lucy-beech-me-and-mine-the-tetley-leeds/ (2016-02-15)
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  • Review: Platform, Holden Gallery, Manchester | Corridor8 —
    the theorisation thereof on to the art experience the immediate effect of the work on the viewer and the gallery space In discussing this experience one cannot help but compare the exhibition to a gig and to point out the vastly different etiquettes of the two The private view goers gathered around the perimeter walls as they seemingly wait for a headline act are unsure of how to conduct themselves in this new environment In the art school s vending machine room now the Platform Café Space a projector flicks through a curated selection of slides from Manchester School of Art s Visual Resources Centre a slide archive which is being threatened by closure by the faculty The selection ranges from colour theory diagrams to photographs of pleasant modern looking buildings Thematic connections between the slides namely pattern abstraction and the everyday begin to surface after reading the exhibition s events programme a programme which attempts to provide alternative ways into thinking about the work on display The full list of events can be found on The Holden Gallery website but of note are a screening of Koyaanisqatsi on 23 rd July and a 45 minute set by Manchester based band Foxtales on 6 th August From the café the audience make their way back across the central gallery and on to the film space formerly a room belonging to the school of art s sculpture course for setting up and taking down large scale installations On show is Mark Wallinger s Construction Site 2012 an 83 minute static shot of three scaffolders setting up and taking down scaffolding on Folkstone beach The grid of scaffolding once erected falls in line with the horizon It becomes a secondary frame for what might be understood as a performance a choreography of

    Original URL path: http://www.corridor8.co.uk/online/review-platform-holden-gallery-manchester/ (2016-02-15)
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  • Featured | Corridor8 — | Page 2
    Article Going to Ost Book Launch and Exhibition Model Leeds Feature Fay Ballard House Clearance Model Leeds Interview Sarah Perks HOME Manchester Review SIMULACRA CFCCA Manchester Review Oculist Witnesses According To Duchamp Harris Museum and Art Gallery Preston Review Lynda Benglis The Hepworth Wakefield Preview HOME Manchester Review Totemic Polemic Olive Caustic Coastal Manchester Review TRIAL ERROR ART Holden Gallery Manchester Newer events Older events Contact Corridor8 97 Vantage Quay

    Original URL path: http://www.corridor8.co.uk/category/online/featured/page/2/ (2016-02-15)
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  • Review: Paul Neagu: Palpable Sculpture, The Henry Moore Institute, Leeds | Corridor8 —
    first room of the Henry Moore Institute although visitors were unable to physically interact with the hanging mobiles Neagu s sculptural boxes also recalled the importance he placed on the influence of his father s trade as a craftsman and were characterised by a focus on texture and a wide range of materials including terracotta wood wax leather newspaper and scrap metal The box form has clear art historical etymology in Duchamp and Surrealism and Neagu demonstrated a self consciousness awareness of this in titles such as Platform for Duchamp 1970 The works were not merely limited to engagement with touch but instead offered the potential for activation of all five senses A forerunner to Gormley s Bed 1980 1 both Bread and Knives 1971 and Untitled The Gingerbread Man 1970 pioneered the use of food as a sculptural material A screening of Neagu s 1971 Cake Man performance at the Sigi Krauss Gallery in which waffles linked together by cream were stacked together to form a life size figure demonstrated the climatic fulfilment of this concept of edible sculpture Using the waffles as the individual building blocks for his cake man Neagu established his concept of the human being as a fragmented object that is linked by a series of miniature and interconnected anthropocosmic cells He asserted that these cells could catch experience a concept that infiltrated both his drawing and sculptural practice In the diagrammatic semi anatomical Anthropocosmos drawing series 1972 3 he drew links between the micro and the macro whilst the use of interlinking matchboxes containing mosaics in Great Tactile Table 1970 suggested compartmentalising and collecting The concept even extended to Neagu s performance work the 1971 Jumpsuit used for the performance Horizontal Rain was filled with horizontal transparent pouches Through the collection of experience the

    Original URL path: http://www.corridor8.co.uk/online/review-paul-neagu-palpable-sculpture-the-henry-moore-institute-leeds/ (2016-02-15)
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  • Review: The Feast Wagon, The Tetley, Leeds | Corridor8 —
    to London in 1887 Archival posters and press clippings populate research displays in Galleries 2 and 8 with frontier exoticism in full swing Stetsons stallions lassoes bold signifiers of new beginnings adventure hubris and machismo One includes an illustrated poster of the distinguished visitors to Wild West London including Queen Victoria herself A vision of the frontier is sold back to the motherland with not a touch of irony The other two artists Delaine Le Bas and Simeon Barclay respond to this rather elaborate historical backdrop in subtler ways With dazzling effect Le Bas brings colonial mythology crashing down to earth sending cogs and springs flying In a room filled with curiosities e g tambourines and biscuit tins depicting dancing gypsy types custom made costumes mixing flamenco polka dots with Sex Pistol t shirts Le Bas refracts British Roma culture through the lens of stereotype Her hybrid ensembles expose the one dimensionality of potted cultural tropes such as the Romany Gypsy outsider and the British punk rocker A collection of notebooks and books some with annotated jackets attest to the heavy handed interpretations of traveller societies and their customs on the part of scholars and authors since the eighteenth century including William Blake and Bible salesman turned ethnographer George Borrow A single video work Gypsyland 2014 has an unsettling ethnographic feel effectively blurring the distinction between authenticity and parody in a series of performative interventions around London the sites chosen based on a set of engravings from the 1800s showing Traditional Gypsy Stopping Places On the ground floor Le Bas mixed media wall installation Death for Being a Gypsy takes this critique still further Enlarged articles and website pages recount the systematic oppression and weeding out of Roma in Europe and beyond including a shocking account of Gypsy hunting for sport in Switzerland and Holland in the eighteenth century When the hunt is on we re always the hunted Insurrection gitane includes a textile patterned with fox hunting scenes a vintage gypsy mask and dolls dressed in customised outfits Applique text on the reverse of a Union Jack flag reads History and Legacy and Truth or Myth An artist and activist from an English Romany Gypsy background Le Bas tests the limits of these false binaries At what point does history become legacy and vice versa How can we decipher truth from myth particularly in a postcolonial post technology age when cultural identity is passed through so many filters across so many borders With a still looser interpretation of the exhibition focus Barclay s work occupies three adjoined gallery spaces and deals in the slippery business of class race and gender construction Muscled pinups rearing stallions and Heinz tomato ketchup bottles peer out of three stacked plastic boxes of descending sizes in An Arrangement On Grey 228 all products cast in a mould seductively streamlined On the wall a commercial lightbox illuminates the phrase Non Illigitamus Carborundum translated roughly as Don t let the bastards grind you down From a

    Original URL path: http://www.corridor8.co.uk/online/review-the-feast-wagon-the-tetley-leeds/ (2016-02-15)
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  • Review: More room for error: Nicola Ellis, &Model, Leeds | Corridor8 —
    line appears simultaneously integral and intrusive piercing and re shaping the body of the building Model s domestic multi room layout lends itself to such aggressive contouring As the work passes through a wall or floorboard the viewer is invited to consider any number of unseen spaces beyond Recalling the work of Anthony Caro the sculpture manipulates both line and space as the gallery itself becomes part of the sculptural entity In places the work is purposely made mysteriously inaccessible hidden behind a transparent door or disappearing into the depths of a basement off limits to the gallery visitor In this way Ellis concept of sculpture becomes one of both a physical object and a mediation on spatial awareness This is also a work that self avowedly seeks to investigate its own materiality a sculpture that displays its own working processes as testimony to a kind of material honesty As the exhibition title suggests it is a sculpture that openly celebrates the flaws and imperfections to be found in any process of making Ellis has spoken of her least favourite train of sculpture as one that disguises inner counter balance or tries to make you believe there isn t one In order to alleviate this erasure of making Ellis intentionally exposes the prefabricated removable collars used to join the steel rods together in the work The holes which are drilled into walls and floorboards to allow the sculpture to continue its architectural journey are also left exposed displaying the material trace of the artist s hand The exhibition forces an interactive response from the viewer The steel line runs at such a height that is is necessary for the gallery visitor to step over or duck under the structure if they want to enter the space Sculpture thus becomes a

    Original URL path: http://www.corridor8.co.uk/online/review-more-room-for-error-nicola-ellis-model-leeds/ (2016-02-15)
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  • Rebecca Senior | Corridor8 — | Page 2
    Plaster Casts and Copies The Hepworth Wakefield Article Going to Ost Book Launch and Exhibition Model Leeds Review Simeon Barclay Man s Not Ready STCFTHOTS Leeds Review Gary Barker New Territories of the Filth Dimension Assembly House Leeds Feature Fay Ballard House Clearance Model Leeds Review Roadside Museum BasementArtsProject Leeds Review Painting in Time The Tetley Leeds Review Lynda Benglis The Hepworth Wakefield Newer events Older events Contact Corridor8 97

    Original URL path: http://www.corridor8.co.uk/author/rscorridor8-co-uk/page/2/ (2016-02-15)
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web-archive-uk.com, 2017-12-12