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  • Review: Built Around You | Corridor8 —
    work hints at the social activity of cooking and eating yet underlined by a sense of the fleeting in the use of impermanent materials Rowlands also presents Talisman a video of photographically catalogued coins discovered in the property The archive of forgotten foreign coins shifts them from novelty treasures collected by worldly travelers into portraits of the anonymous former occupants and the nostalgia we all have to maintain memories of places far from home In the photographic work of Rachel Maloney we encounter a personal space from the home of the artist s late grandmother The series entitled St Joseph s Road documents the family home which has since had new occupants and those too have moved on In the photographs Maloney explores the potential for domestic based memories to change through time revisited Each image pauses a hauntingly familiar banal domestic interior setting that evokes the transitional experience of moving in or out of somewhere beyond that of physical space Co curator Rebecca Travis has lived in six Heaton houses in as many years Faced with a residency in another Heaton property Travis chooses to revisit her memories of past bedroom spaces she once occupied Built retrospectively Travis has created six miniature scaled shoji paper replicas of the bedrooms Suspended from the ceiling of an upstairs bedroom the forms appear like apparitions of dolls houses past These memory objects generate a newly shared interconnecting narrative between one another Cut out silhouettes made from the remains of the miniatures are found occupying another space in the home as remnants of unique experiences they are harmonised by their uniformity The project has involved its immediate community and invited residents of Heaton to submit to a mail art exhibition The submissions playfully adorn the kitchen fridge and vary in artistic abilities providing

    Original URL path: http://www.corridor8.co.uk/online/review-built-around-you/ (2016-02-15)
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  • Review: Meanwhile See This | Corridor8 —
    visible hangs high on the two storey wall of the gallery and simple oil on paper experiments study process such as an A2 piece folded into 8 with oil blotted from a central point and unfolded back out to examine the results Nina Chua s pen on paper works are saturated colour compositions of ruled felt tip pen simultaneously playful and meticulous Circus 2012 omits the lines themselves and presents a negative version of the making process the marginal end of line dots marking a rectangular edge of another absent drawing Nicola Ellis s Selected Drawings 2012 are simple marks in unspecified mixed media of watercolour tonality Synthetic pastel hues form organic flat surfaces alluding to experiments in control of mark making A sculptural work Indentare Major 2012 is an amorphous form of slate covered expanding foam this too suggestive of an experimental relinquishment of control in the sculpture s formation Shona Harrison uses found and manipulated objects in formal compositions of steel oak concrete and aluminium intimating a traditional sculptural discourse through structural irregularities punctuating the gallery space Ana Rosa Hopkins employs everyday materials such as Lemsip vitamin C and lipstick combined with ink on found glass in a study of surface Additionally in Two Form 2012 the interior vacuums of thermal flasks are positioned neck to neck connoting an eternity figure of eight which reflects the viewer and the surrounding world The works are identified with a numbered gallery map rather than wall mounted labels which lends the encounter to a collective reading of the works as well as individual consideration Each work artists style and set of concerns is distinguishable but equally a complex set of affinities is apparent throughout the exhibition evidencing a lasting mutual affect and collective resonance Launch Pad Meanwhile See This is on

    Original URL path: http://www.corridor8.co.uk/online/review-meanwhile-see-this/ (2016-02-15)
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  • Review: David Shrigley at Cornerhouse, Manchester | Corridor8 —
    us to write down our feelings in public and to make loud noises Many of the works boast therapeutic properties and in the exhibition guide you will find instructions on how to use or interact with them For example The Burden 2012 a comically immense rucksack which forces the wearer to bend double is worn by gallery staff or other visitors whom you are instructed to ask about it because it s good to talk about this kind of thing 1 Up in Gallery 2 the walls are pasted with an overwhelming number of pictures Given that a precedent for participation has already been set this illustrated chamber is unexpectedly affecting as Shrigley s disturbingly accurate depictions of the human condition seem to return our gaze This sense of being reflected and subsumed is amplified as the space unexpectedly tapers to a tight corner absorbing the viewer in a superabundance of shame and foolishness A huge animatronic sculpture dominates Gallery 3 resembling one of the ugly men from Shrigley s drawings but in full colour and made solid The giant is surrounded by an art class set up and here again you will find instructions in the exhibition guide to make your own life drawing which will be added to the many which already hang on the surrounding walls On this third and final floor the invitations to participate demand more of us to your right as you walk in you ll notice the empty set of a play called Self Portrait and a screen on the wall playing a performance of it which a gallery attendant offers to turn off if we d like to perform the play ourselves How Are You Feeling claims to be a form of art therapy and even though much of Shrigley s work

    Original URL path: http://www.corridor8.co.uk/online/review-david-shrigley-at-cornerhouse-manchester/ (2016-02-15)
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  • Review: Mathieu Kleyebe Abonnenc, Pavilion – Tower Works, Leeds | Corridor8 —
    kg we are told by the narrator was the weight of copper that could be traded for a person in the Congo and by chance this was the lowest amount that would convince the forge to accept the job which would make it worth their time These coincidences add to the potency of the narrative The proceedings are symbolically violent The copper crosses are cut and smelted the moulds are beaten and stood on but there is calmness to these scenes The actions take on a methodical surgical quality which is in high contrast to the hysterical drama of the 1966 film As if taking part in a ceremony these men are totally engaged in their power play with the materials dare I say like magical blacksmiths It s hard to avoid using clichéd language of alchemy or magic and within the film itself the young narrators describe ideas of sacred trade sorcerers superstitious rites Watching the procedure as an outsider I see images of men doing strange and mysterious things transforming materials performing acts that I don t understand This is the fascinating process of making this is industry The resultant copper rods which are on display are minimalist in form They appropriate the aesthetic of Modernism which had its own role in the imperialist appropriation of African culture with its fascination for so called primitivism Mythmaking is an intrusion on reality Abbonenc reminds us But it seems unavoidable Even art with its own history is complicit in these crimes Sometimes myth is reality Set up in this disused former pin factory itself a setting for the industrial revolution the location is historically tied up in this story Challenging our memories and myths not just of Africa but also of home and the role cities such as Leeds or

    Original URL path: http://www.corridor8.co.uk/online/review-mathieu-kleyebe-abonnenc-pavilion-tower-works-leeds/ (2016-02-15)
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  • Interview: David Shrigley | Corridor8 —
    very short There s another piece which is a sculpture that the gallery staff carry around so I suppose that s a performance but I m not a performer I m don t perform very much AB Is performance and being in the spotlight in that way something you re not keen on DS I have to do it sometimes I do telly and public speaking where you have to be interesting and entertaining and I can do that on my own terms but I m not a performer like a comedian or anything To be honest it s a skill that I don t have enough time to acquire There s lots of things I d like to do I occasionally play music in bands and have done some performance before but I don t have time to do it any more There s only so much time to make things and there s certain things I want to make It feels like a bit of an ego thing if I was to perform and I only have time to be the director and the writer I think other people are better at it AB What makes a good collaboration DS In a way this show is a collaboration but then it s not a collaboration in the same sense as when I did the opera project last year Pass The Spoon at Southbank Centre working with a classical composer and a director They made a lot of the decisions and all I did was write the script and even then it was structured by them With this show I came up with the proposition and people filled in the gaps and it took slightly different turns There are elements of this show that curator Mike Chavez Dawson did the bread and the cakes for example with the anti psychotic ingredients on sale from the Cornerhouse cafe bar AB Is control important to you DS Somebody has to be in charge and if I m not it begs the question why not It s my name and my art work and you can only delegate so much to other people I delegate a lot of things to other people and they make some of the creative decisions but there are certain things that I have to decide otherwise it ceases to be your artwork It s important to collaborate with people that can do something you can t do and they re really good at and you re not and you do something you re really good at and it s a good collaboration AB On drawing is this a ritual for you and what is the best environment for drawing DS It s something I like doing I find it easy and very enjoyable In a way my life would be much easier if I just made drawings but when you start making big exhibitions like this it gets complicated and stressful I don t get stressed when

    Original URL path: http://www.corridor8.co.uk/online/interview-david-shrigley/ (2016-02-15)
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  • Review: Emma Hart, CIRCA Projects, Newcastle | Corridor8 —
    lines forming an awkward corridor that the viewer must walk through Flanked on either side by pointed camera lenses the observer seems to become the observed creating tensions as to who is actually watching who Worries here are not unfounded as Hart s hybrid cameras are not only used in sculptural capacity but also act as vehicles for video some pre recorded in the exhibition space others set simply to capture mode It is when you realise this that the works cease to become mere attention grabbing posers and really come into their own Hart is drawing out the way in which a viewer can experience film and the potential for cameras to be so much more than mere recording equipment instead becoming windows onto live reality and even instigating live events Further to this there is a chaotic relationship with language The replayed films have incessant soundtracks that chant simple commands over and over like a demented dawn chorus The inclusion of a variety of European language dictionaries in one of the sculptures initially points at the complexities of spoken word and dialect but on later reflection in their closed state are reduced simply to bright blocks of colour

    Original URL path: http://www.corridor8.co.uk/online/review-emma-hart-circa-projects-newcastle/ (2016-02-15)
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  • Review: Bojan Fajfric at BALTIC, Gateshead | Corridor8 —
    but through the everyday people and surroundings of the time in particular through the experience of Mirko Fajfrić the artist s father One episode has specifically become a point of obsession His father was present at the infamous 8th session of September 1987 a meeting now widely regarded as one of the most important in Serbian history On broadcast footage of the session Mirko is caught on camera sleeping prompting intrigue around his failure to participate and any differences that he could therefore have made in what was to be a cataclysmic turning point for the nation The piece Theta Rhythm 2010 therefore sees the artist painstakingly recreate his father s daily routine prior to the session taking place The aforementioned boxy televisions form part of an archive of found footage interviews and newsreels the low lighting a carefully considered level appropriate to this visual research library Travelling through these segments of found material we then reach the intensely darkened arena of the main event Theta Rhythm is highly cinematic and carefully staged the HD quality particularly striking following the fuzzy footage of the archive It is by turns intriguing and beguiling part experimental part documentary and is meticulous in its execution at times even supplanting the artist into found footage of the session itself It not only raises questions around the events of the day but of the patriarchal role The film s title is a clever reference to the states between sleeping and consciousness addressing both the unfortunate napping of Mirko and serving as a metaphor for the state of Yugoslavia itself blissfully unaware of the troubles to come Elsewhere darkened annexes show earlier works The Dome 2009 a lucid camera documentary of an abandoned parliament building and They are Calling Us 2005 the first of Fajfrić s

    Original URL path: http://www.corridor8.co.uk/online/review-bojan-fajfric-at-baltic-gateshead/ (2016-02-15)
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  • Review: A Decade of Bloc Projects, Sheffield | Corridor8 —
    art gallery should do provoke new work rather than merely serve as a public resting place for the old As I have lived and worked as an artist in Sheffield throughout Bloc Projects ten lively years and beyond the gallery has been of continuous importance to me It s always been good to know it s there half hidden away amidst the post industrial back streets abutting the city s Cultural Industries Quarter In a city that houses a plethora of artists studios yet a dearth of contemporary art venues Bloc Projects has become essential to any kind of feeling that we are living in a city that in any way recognises and celebrates contemporary culture Just up the road S1 is now flourishing and providing an outlet to international names but its establishment has been relatively recent Just down the road Site Gallery has long distinguished itself as the city s central contemporary art venue on a par with Birmingham s Ikon Bristol s Arnolfini and Manchester s Cornerhouse but it also has nowhere near the floor or wall space of such venues and up until recently has tended to exhibit mainly lens based work In comparison Bloc Projects seemingly so approachable and informal so not for profit and apparently humble in its financial clout has consistently shone as the city s artists run contemporary art star turn a place where awkwardness and strangeness reign where occasional failures are allowed to take place as well as tried and tested successes precisely because creative failure is of course an utterly necessary risk factor in any genuinely ingenious and courageous contemporary art Like any other Sheffield artist I have far from seen every last one of Bloc Project s ten years of shows and the ones I have seen have often tended to be by artists whose work I have for one reason or another already been familiar with in earlier incarnations So for me to single out a selection from the gallery s decade long history would be shamelessly subjective and perhaps open to accusations of bias or favoritism Nevertheless to give these recollections a bit more specific focus here goes Highlights for me have included the following Samantha Donnelly s Workroom a deliberately daft yet undeniably sensuous sculptural mix up of bodily fragments Frances Hegarty s paradoxically bold and heavily physical drawings embodying ephemeral and elusive states of mind and emotion Nikos Mantzios Laocoön collaged collisions of drawing and painting that accrued in violently shattered yet precisely observed portraits Maud Haya Baviera s Delightful Desuetude a wonderful culturally literate installation of enigmatically composed photo sculptural image elements Emma Talbot s shelf stack installation of exquisitely sensitive drawings A Sheffield Song collating memories and reveries of her visits to the city memories and reveries that were bound all the more to touch my heart as I was flattered to be the subject of not a few of them Chloe Brown s deceptively simple yet deeply affecting tableaux featuring the suspenseful

    Original URL path: http://www.corridor8.co.uk/online/review-a-decade-of-bloc-projects-sheffield/ (2016-02-15)
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web-archive-uk.com, 2017-12-13