Web directory, archive
Search web-archive-uk.com:

Find domain in archive system:
web-archive-uk.com » UK » C » CORRIDOR8.CO.UK

Total: 559

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • Review: Burroughs at 100 – The International Anthony Burgess Foundation, Manchester | Corridor8 —
    a culmination that left ears ringing and imaginations frazzled While Saturday s over arching title Nothing Is True underlined the contemporary performative response to Burroughs legacy Sunday s Everything Is Permitted pointed towards Burroughs techniques and the way they were intended to work on the viewer reader and listener In the preamble to his detailed and fascinating history of editing the Nova Trilogy The Soft Machine Nova Express and The Ticket That Exploded for Grove Press Oliver Harris revealed his Manchester music scene origins and another C P Lee connection in that it was Lee who first made Harris aware of Burroughs via the gift of three bootleg cassette tapes of Burroughs audio works Harris s genetic backstory of his mammoth editing project took the audience into the complex multi layered history of some of Burroughs most important cut up literature about which Burroughs said I bring not peace but pieces Harris contends that Burroughs weaponised cut up in a media war and went to great lengths to excavate the archaeology of Burroughs texts Their mutability seems endless one wonders if one day a digital version of the Nova Trilogy might enable users to drift dreamlike through versions of text to earlier edits and earlier still and back like a time traveller and maybe that is what Burroughs envisaged But as Patricia Allmer and John Sears demonstrated he also did it with his own photographs Co curators of Taking Shots The Photography of William Burroughs an exhibition which ran in 2014 at the Photographers Gallery London they worked hard to locate original prints and negatives left behind with Burroughs former lovers friends and acquaintances and lovingly pieced together the history of some of his photographic wall collages tapestries stuck together with sticky tape While Burroughs was thankfully not into the techno trickery of darkroom practice preferring to pay high street chemists shops to develop his prints he explored certain themes such as car crashes flower arrangements and shop fronts in depth He also took notable portraits of friends like Ginsberg and self portraits that were curiously self effacing placing himself as camera bearer in off centre mirrors or reflective surfaces more shop windows Then taking things to more complicated levels he photographed his own photographic collages made collages of those photos and photographed them carrying the pattern on and on His ultimate photo the curators believe shows photos arranged on plates of glass stacked up on top of each other using drinking glasses a kind of 3D mosaic for photographic gazing proposed in just one image When Burroughs accompanied by a cockney rent boy visited Horovitz in Oxford in the late 1950s he wanted to see rivers and waterways to remind him of St Louis perhaps so they took a bucolic walk along the canal But as Horovitz recalled during a four way session about biographers of Burroughs it was not many years later that during another visit Horovitz on Allen Ginsburg s prompting to look after Burroughs managed to

    Original URL path: http://www.corridor8.co.uk/online/review-borroughs-at-100-the-international-anthony-burgess-foundation-manchester/ (2016-02-15)
    Open archived version from archive

  • Review: The Manchester Salon present ‘In A Flux’, Warrington Museum and Art Gallery, Warrington | Corridor8 —
    These are A4 sized photocopies and computer print outs made compelling by their banality amongst decorative objects and drawing the eye that is accustomed to finding information in this format With obscure tangent prone research Fogarty investigates OX the individual letters the word and the animal raising questions around processing as the words Oxen and X Ray Spex are compacted into an OXO cube Some of the text is in third person transmitting information but some is compellingly in second person referencing familiar but recently obsolete sites and scenes Maurice Carlin s Study for a Phantom Demographic A0 to A10 looks like an obscured or empty aerial plan connecting again to the WWI poster exhibition on show in the mezzanine gallery above look up look down Carlin s use of the word Phantom in the title of this piece begs the question who or what is gone and what traces are these On further investigation it becomes clear that these works are made using Carlin s method of taking a print from the floor of a site using paper ink and squeegee This piece is displayed like Fogarty s in a notice board studio wall like arrangement that could be incidental Also from the temporary walls of this sectioned off exhibition space hang rolls of backing paper appearing decorative in their proximity to the glistening filigree in the main gallery with their off white off centre gigantic scrolling This small selection of works from The Manchester Salon seem urgent or even desperate in comparison to the objects and pictures in the rest of the gallery which include gentle and cheery Venetian scenes by Henry Woods 1846 1921 paintings where the subjects are dropping off to sleep and complex florid objects The work here is also supposed to respond to the

    Original URL path: http://www.corridor8.co.uk/online/review-the-manchester-salon-present-in-a-flux-warrington-museum-and-art-gallery/ (2016-02-15)
    Open archived version from archive

  • Review: Shezad Dawood – Towards the Possible Film, Leeds Art Gallery, Leeds | Corridor8 —
    from the collection However Mirza and Fitzmaurice s works benefitted from a freshness that perhaps isn t demonstrated in this show due to the repeated stunt The choices of Alexander Calder s Chicago Black 1948 and Liliane Lijn s Atom Body Was Light 1964 are excellent but they shift focus away from Dawood s brave and interesting works and instead force an examination of the static state of a room housing works that were originally intended to move To describe a show including Alexander Calder as static feels awkward but perhaps that is the contradiction that was intended here Or perhaps the chosen works were an attempt to pacify an often critical public who might not warm to Dawood s work The positives of this exhibition are many and whilst the exploitation of the Leeds collection frustrates it cannot undo the brilliance of the work Towards the Possible Film 2014 from which the show takes its name Shot in Morocco the film has a limited soundtrack extended sumptuous visual sequences and a narrative pace that forces viewers into spending extended time immersing themselves into its narrative It is not easy to watch it is firmly an artist film but as a viewer that makes the exhibition exciting and interesting for it challenges the visitor to explore its themes without merely presenting them with answers The film shows space suit clad blue figures emerging from the ocean with the suggestion that they are perhaps alien invaders The land based figures respond to these outsiders through aggressive posturing combative gestures and fearful movements that maybe show Dawood s observation of a still present xenophobia in human behaviour that many may choose to ignore or deny The lack of a common language between others perhaps shows the perils of diminished communication and misread

    Original URL path: http://www.corridor8.co.uk/online/review-shezad-dawood-towards-the-possible-film-leeds-art-gallery-leeds/ (2016-02-15)
    Open archived version from archive

  • MDP Associates Exhibition: Looking at the Reflection of Reality, Federation House, Manchester | Corridor8 —
    by a work that explores responses to the physical through sculpture in an ironic and ephemeral manner Joe Hancock s Conversation with a future sculpture is a work that allows the viewer a brief insight into the inner dialogue of the Artist exploring their obsessions and perverse nature the questions we ask of our physical surroundings and how we desire to manipulate our reality Why the work has to be in the ceiling is unclear but it does create an unusual physical dynamic within the show Cataphote Askew is a contextually subtle work that acts to deceive the viewer twelve additional columns have been playfully arranged within the gallery altering the way in which we navigate the space and questioning our familiarity with the spaces we inhabit The aforementioned large watercolors look physically ripped straight out of a sketchbook and the most interesting aspects of Rob Davies works are the scale On the far side of the void are Mary Wintour s imagined locations constructed with paint and collage With these works Wintour invites us into a space with a familiarity of form and object however they also strongly evoke shifting space departing from the real and familiar The work is eloquently constructed evoking the experience of time and memory The star of the show is London based Artist Laura Napier Entering Napier s fictional reality is like entering the life you do not want to live but you have to Something that you are going to end up with the boring life of work followed by pensions and retirement Napier seems to be interested in the roles we play in life or the roles we invent for ourselves evoking the question of how multiple possibilities become one reality Heintzman Solicitors Erlang House Directory is a fictional construction whereby the

    Original URL path: http://www.corridor8.co.uk/online/mdp-associates-exhibition-looking-at-the-reflection-of-reality-federation-house-manchester/ (2016-02-15)
    Open archived version from archive

  • Go! Push Pops: HolY CreAtriXXX, Alexandra Arts, Manchester | Corridor8 —
    contemporary health issues this seems to help b oth transgress and transcend proscribed identities would you agree with this interpretation KC EGH Yes We are border crossers determined to transgress the false boundaries of race gender class nation to smash the matrix of oppression to which we all our culturally bound Often we draw from popular culture as a way of highlighting the hieroglyphics of goddess worship that permeate today s visual culture If at times our work is confused or misread either by ourselves or audience members we feel it is because the divine feminine has been beaten out of us denied for so many thousands of yea rs Too often all things socially recognized as sacred are falsely entangled with male abuse of power A great deal of our work is using the transformative power of play to trace our way back to the ancient primal power of women We are using our bodies to interface with the archetypal realm of Goddesses We are one feminist collective among many in this Aquarian Age of partnership trust and love determined to reclaim female divinity in a way that speaks in the hear and now LV What interested you about working with the communities surrounding Alexandra Park and how have you found the experience in comparison with your previous work KC EGH We are very thrilled to have experienced such a warm welcome from the communities surrounding Alexandra Park and Manchester at large Our work leading a yoga and Sacred Arts workshop with the mums and six year girls at St Mary s Primary school was an experience we now hold near and dear to our hearts About a week ago we performed a punk rock feminist experimental soundscape with Louise Woodcock and Neil Von Francis of 2 Koi Karp during the Faux Q event hosted by the feminist collective Alt Femme Equally thrilling Faux Q allowed us to connect in a deep way to a whole league of powerful women here in Wom anchester fighting at the frontlines of the gender war Having learned a bit about the legacy of the suffragettes particularly the wacky violent and colorful tactics that enabled them to mobilize thousands of people within the grounds of the park for women s rights we feel very much in line with their vision and excited about the historically fertile territory upon which we ll host our final performance ritual We ve gathered about ten women of Manchester in a temporary community or coven As a group we will perform a live ritual this Friday as our final work of art in the park We re not sure what exactly will happen like most of our works we are keeping it a bit loose We re trusting our instincts and using percussion divine incantation song and circle work to hold and charge the energy of the Goddess As an eclectic army of creative change agents warriors mystics and new age divas we ll usher in a new

    Original URL path: http://www.corridor8.co.uk/online/go-push-pops-holy-creatrixxx-alexandra-arts-manchester/ (2016-02-15)
    Open archived version from archive

  • Lauren Velvick | Corridor8 — | Page 2
    Bloomberg New Contemporaries The World Museum Liverpool Review Listening Curated by Sam Belinfante Hayward Touring Curatorial Open BALTIC 39 Newcastle upon Tyne Review A Joyous Thing with Maggots at the Centre Castlefield Gallery Manchester Review Holly Hendry Hollow Bodies Gallery North Newcastle upon Tyne Review Gego Line as Object The Henry Moore Institute Leeds Review Pop Pop Music Hyde Park Picture House Recon Festival Leeds Review Essential Elements St Bride

    Original URL path: http://www.corridor8.co.uk/author/lauren-velvick/page/2/ (2016-02-15)
    Open archived version from archive

  • S1 Artspace Need Your Support | Corridor8 —
    Regrettably the last few years of consistent funding cuts across the arts are seriously jeopardising organisations like S1 Artspace which are vital to the local arts scene in Sheffield and ensuring that the arts community continues to thrive and develop S1 Artspace are asking for your generosity to support the on going activities so that they can continue our work into 2013 Share the link visit their crowd funding page and make a donation http www indiegogo com s1artspace S1 Artspace is a non profit charity that provides a free gallery space dedicated to contemporary art as well as affordable studio spaces for artists and creative businesses based in Sheffield S1 Artspace was founded by artists who simply wanted a decent space to work in Sheffield s city centre and in 2003 a dedicated gallery space was established Through their exhibitions programme S1 Artspace supports and presents work by both emerging and established artists and have a strong commitment to commissioning new work Over the past few years S1 have presented exhibitions with Haegue Yang Keith Wilson Jennifer West George Henry Longly Eva Berendes Karla Black Jessica Warboys and Melissa Gordon amongst many many more In 2010 S1 Artpsace relocated

    Original URL path: http://www.corridor8.co.uk/online/s1-artspace-need-your-support/ (2016-02-15)
    Open archived version from archive

  • Review: MAY IT KEEP THE WOLVES IN THE HILLS AND THE WOMEN IN OUR BEDS, A collision of interests selected by Ryan Gander at Mexico, Leeds | Corridor8 —
    and often embarrassing faces that are made whilst playing drums The work intimately situates the viewer within seemingly private moments of practice play and endurance Performing the beat to Scentless Apprentice by Nirvana a distinctive drum part often learnt by beginners the work makes reference to states of teenage fandom and processes of learning A work by John Newton gives sculptural form to a drum beat as he transcribes a drum tab using BB gun pellets the material used to perhaps evoke the violence of a militaristic drum beat Another work by Newton takes the form of a customised denim jacket adorned with plain black patches Described as a monument to a conversation the jacket appears to be in mourning The subject of Newton s memorialised conversation was black metal and the patches effectively evoke the black metal scene whilst also conveying a funerary quality Imbued with traces of the personal Newton s sculptural works seem generated from encounters within daily routine Like Lye s portraits they convey a sense of intimacy commemorating or simply making reference to moments of everyday life Lucia Quevedo s works similarly take quotidian starting points Her petite slight sculptures combine a sharpness of wit with a skilled and precise use of materials Using a delicately spare visual vocabulary Quevedo manipulates the materiality of her objects in subtle and absurd ways The result is a series of idiosyncratic forms In one work through the use of marble she gives classical form to slices of delicatessen ham Continuing the manipulation of food stuffs Quevedo renders a block of ceramic butter in a lurid and cartoonish canary yellow One particularly effective work takes the form of an amputated rounders bat Sliced in half the bat sits atop an equally slim sliver of plinth The effect is to

    Original URL path: http://www.corridor8.co.uk/online/review-may-it-keep-the-wolves-in-the-hills-and-the-women-in-our-beds-at-mexico-leeds/ (2016-02-15)
    Open archived version from archive


web-archive-uk.com, 2017-12-11