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  • Review: Liverpool Biennial: Community Arts? Learning from the Legacy of Artists’ Social Initiatives, The Black-E, Liverpool | Corridor8 —
    of creative almost literary extension of ghost imagery was quite difficult to assimilate and respond to practically let alone draw conclusions from Likewise Alan Read s incantation cum presentation was breathtakingly lyrical and witty but was largely bypassed in open floor discussion Read at one point suggested that community arts are immune to theory because they re somehow too worthy too pure perhaps revealing something also about the limits of a conference on this subject that retains pretends a strongly academic tone and format If Sophie Hope imagined the legacy of community arts as existing in another dimension for other panelists community arts relied on a physical presence and on its accessibility for validity Nina Edge for example argued that the community isn t another country and that her work was only socially and communally relevant because she was neither disembodied nor dis integrated but had been chosen by the people with whom she worked as their artist co habiting and quite obviously and materially co existing with them Despite the aim of achieving a consensus of radical opinion and the attempts to weaponise this solidarity to combat the banalisation of community arts it became increasingly apparent as the conference proceeded that many practitioners and participants were as proudly nuanced in their opinions as ever Convenor Andrea Phillips had stated that a major intention behind the conference was to produce a succinct angry defence and appraisal of community arts and moreover send a clear positive message to funding bodies Taking on that mammoth task and bashing out a solution was an immediately attractive and popular prospect but perhaps the combative rhetoric misled some of the more excitable among us What could actually be achieved conclusively that day and not merely set in motion real slow like For much of the

    Original URL path: http://www.corridor8.co.uk/online/review-liverpool-biennial-community-arts-learning-from-the-legacy-of-artists-social-initiatives-the-black-e/ (2016-02-15)
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  • Review: Old Woman on a Roof, Crown Building Studios, Liverpool | Corridor8 —
    the rest of the work but it compliments Fibrous Character 2015 a life size photographic print of a padded workman s jumpsuit which has been laid flat and compressed Again the in between world of industrial docks is referenced and an aesthetic is achieved as the objects denied of their clear purpose instil a sense of abandonment This is mirrored in the subtlest piece of the show Palimpsest 2015 a square scrap of Hamilton birch bark innocuously placed on the floor at the far side of the gallery A historical jeu de mots is at hand here for a palimpsest commonly made from the type of bark used in this artwork is a manuscript that has been wiped clear repeatedly in order to be repurposed a process employed in gwelg2 2015 a print that breaks the exhibition s preference for unfretted presentation whilst sticking to the visual theme of loss gwelg2 is a copy of an El Greco painting The View of Toledo that has been digitally weathered away to leave slight abstract impressions painterly marks that could be mistaken for a monographic print As with Palimpsest gwalg2 alludes to dusty libraries and scholarly pursuits two traits evident in the show s signature piece Greyscale 2015 an A2 scan of a book cover with torn edges and a far reaching title Theism and Atheism in Science An excerpt from this book is featured in the exhibition pamphlet which elegantly summarises how five reappropriated objects have been made into a thematic whole The effect was to change the fibrous character of the links and render them so crystalline that they broke and became useless Indeed this end has been achieved and though an understanding of the artworks obscure references arguably necessary to decode the exhibition requires prior knowledge or research the

    Original URL path: http://www.corridor8.co.uk/online/review-old-woman-on-a-roof-crown-building-studios-liverpool/ (2016-02-15)
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  • Review: Jackson Pollock: Blind Spots, Tate Liverpool, Liverpool | Corridor8 —
    showing Pollock s exploration of other media in addition to the support they gave in demonstrating Pollock s progression of style the exhibition context still reads coherently without them in its inclusion of three pivotal sections which show his development The first is the Introduction which displays the traditional drip paintings alongside his early monochrome Black Paintings the inclusion of these recognisable Pollock paintings allows the viewer to compare the newer work to his existing style This therefore visually reveals the development of this new style which is applied in a more fluid way allowing the paint to seep and run in a thoughtful and deliberate manner Number 23 1948 perfectly shows this change of direction and highlights the possibilities of the new method in the way he has allowed the black and white paint to bleed together creating grey hues The style is reminiscent of Japanese calligraphy in the application of the paint both in its fluidity and incorporation of negative areas of space The next defining development sees Pollock s return to the figurative in the Betty Parson Exhibition 1951 This displays his new technique of a more direct relationship between the raw canvas and black enamel the lines become graphic and the paint is allowed to stain the canvas rather than the drip technique of quickly layered paint in thin lines The final section Conclusion and Legacy continues the tension between abstraction and representation but reintroduces colour so the works become an infusion of Pollock s different techniques and a realisation of his experimentation of different styles within his Black Paintings period The work remains solid and graphic but they still retain the energy of his earlier drip paintings Portrait and a Dream 1953 demonstrates this perfectly in its combination of the graphic figure and delicate calligraphic

    Original URL path: http://www.corridor8.co.uk/online/review-jackson-pollock-blind-spots-tate-liverpool-liverpool/ (2016-02-15)
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  • Review: Glenn Ligon: Encounters and Collisions, Tate Liverpool, Liverpool | Corridor8 —
    layered vision of America In a William Eggleston Alabama photograph from 1969 a portly white old man bespectacled and suited strokes a red US Air Force plane tenderly as one would a pet Whether this man is a racist or not he becomes a convenient linchpin with which to excise white collective guilt This speaks of photography s tokenistic too facile interpretation something which Ligon s complex vision wildly discredits In order to anchor myself in the exhibition I am necessarily reductive and pick out samples For me Mythic Being 1973 by Adrian Piper and Untitled by Ligon act as centrifugal forces through which to understand Ligon s wider concerns Piper a mixed race female Conceptual artist in moustache and Afro enacts an imitation of a black male Suspending disbelief she embodies an identity that s not hers comically playing with society s hegemonic ingrained ideas of gender and racial difference This acts as a precursor to Judith Butler s gender theory the transvestite s gender is as fully real as anyone whose performance complies with social expectations My Benjamin aura moment is mediated via Ligon s Untitled I lost my voice I found my voice This work points to the circularity of Ligon s preoccupations and as I start to lose myself in the incantatory repetition of the words a voice in heavily accented English disrupts my interior epiphanies I lost my voice I found my voice I lost my voice I found my voice I lost the voice belonging to a young Chinese woman gives way to a series of unsuppressed giggles Initially I m annoyed but then I understand her performance as another layer of the work and I feel like saying read that disappearing I in a softer way The refrain is deeply affecting and a

    Original URL path: http://www.corridor8.co.uk/online/review-glenn-ligon-encounters-and-collisions-tate-liverpool-liverpool/ (2016-02-15)
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  • Georgina Wright | Corridor8 — | Page 2
    Bluecoat Liverpool Review Peter Fraser A City in the Mind Open Eye Gallery Liverpool Review DEEP HEDONIA A SMALL CINEMA present BROADCAST Liverpool Small Cinema Review Build Your Own Tools for Sharing FACT Liverpool Review Liverpool Arab Arts Festival Shaping Change Women Art and Culture symposium Bluecoat Liverpool Review LOOK 15 Liverpool Review Leonora Carrington Tate Liverpool Review Reality Part 2 Crown Building Studios Liverpool Newer events Older events Contact

    Original URL path: http://www.corridor8.co.uk/author/gwcorridor8-co-uk/page/2/ (2016-02-15)
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  • Review: Susan O’Byrne: Five Sisters and a Family Tree, Ruthin Craft Centre, North Wales | Corridor8 —
    her as a leading name in contemporary animal ceramics O Byrne s surfaces are highly decorative using quiet colours and pastels to create an impression of a story quilt with little bits of text sewn in amongst stitched pattern There is something distinctively innocent about her work it is calming and sedate without being overly sentimental or too obvious With so many contemporary exhibitions seeking to challenge the viewer it is refreshing to be instead comforted by the work on display and for the artist s own distinctive whimsy to raise a smile The artist s portrayal of her family tree consists of three taxidermy styled displays of animal heads This collection depicts her late German family members as an array of exotic animals that include Luttgard Hirscher the anteater Dietrich Hirscher the koala and Gunter Drossetman the tarsier Whether German born Dietrich would have approved of being portrayed as a koala is unclear however as Susan s family migrated from Germany in the mid 1800 s perhaps portraying them all as foreign animals aptly describes their feelings at arriving in a strange new land To portray an adult situation with such gentle simplicity takes warmth of spirit and it s this generosity that makes her work relate to the home as well as the gallery O Byrne s work is domestic and that is a good thing There is still a wonder for the natural world present in her work but it is a wonder understood through the illustrations of folk stories rather than the living presence of the animal While not raw in tooth and claw her portrayals of her grandmother s Five Sisters make a theatrical use of space with each of her sisters standing as a line of half sized deer The artist s sisters show

    Original URL path: http://www.corridor8.co.uk/online/review-susan-obyrne-five-sisters-and-a-family-tree-ruthin-craft-centre-north-wales/ (2016-02-15)
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  • Review: W is for Wallpaper, Ruthin Craft Centre, North Wales | Corridor8 —
    woodblock printing over more efficient modern means Neither slick nor of a consistent nature Florey Hitchcox s wallpaper reveals the organic beauty of an old fashioned craft whose imperfections contribute to its aesthetic quality While the results of digital technology should not be dismissed it would seem neither should processes that rely on the skill of hand and eye One of the most original wallpapers in the show embracing digital technology came from design studio Custhom Using simple blue on white this wallpaper s individuality comes from its textured surface of repeating cross stitch mechanically punctured to make an intricate repeated Celtic knot Just as the subtle quality of Florey Hitchcox s woodblock printed wallpaper depended on the process used to create it so did Custhom s digitally cross stitched design There is no right or wrong way to design or right or wrong process to use the old and the new share a healthy rapport in the contemporary world of wallpaper and art and design or at least this exhibition would suggest they do Timorous Beasties respected for their wild innovation may use digital printing but their designs are inspired by past tradition and imagery that they distort and reinterpret merging heritage with contemporary design Their displayed wallpaper was beautifully composed an effortless complexity of birds branches and nuts that could only have been achieved with the aid of digital technology Yet despite the splendour of their wallpaper the intensity of the design raises questions as to its compatibility with the home Your favoured wallpaper may not be the choice for your home interior making you wonder if we need to be more daring in our statements of taste or if the wallpapers on display are simply too wild to be tamed for a domestic setting Maybe it s

    Original URL path: http://www.corridor8.co.uk/online/review-w-is-for-wallpaper-ruthin-craft-centre-north-wales/ (2016-02-15)
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  • Review: Still Howling, The Wonder Inn, Manchester | Corridor8 —
    Horowitz s literary mentors Ginsberg was capable of deliberately outraging audiences with his commanding presence and his habit of stripping off if anyone heckled him Horowitz s key role in organising the 1965 International Poetry Incarnation at the Royal Albert Hall which featured Ginsberg was probably the first real manifestation of the British underground counterculture Meanwhile Ginsberg s endlessly busy schedule needed organising Peter Hale talked about the behind the scenes world of keeping Ginsberg on the road comparing those days with the present in which he is managing the afterlife of the poet checking with other surviving friends how Allen would have done that when it comes to decision making on what to publish next The day was co organised by Simon Warner and Roger Bygott the latter having a special interest in Ginsberg s visit to Manchester in 1979 when he performed at the Central Library in aid of the Manchester Tibetan Buddhist Centre Roger s reading of an email he received from one Elwyn Bennett was wonderfully revealing about what it was like to witness Ginsberg s show in which A fountain of spittle erupted from his lips accompanied by his arm pumping the harmonium an instrument Ginsberg had purchased on his travels in India In fact Ginsberg had an important parallel career in music working with Bob Dylan Leonard Cohen Phillip Glass and the Clash among others and in his own right issuing albums and doing gigs with a regular guitar player Steven Taylor also a member of legendary poetic proto punk band the Fugs Born in Gorton Manchester Taylor s appearance at the Wonder Inn was especially interesting a US resident since the age of 10 Taylor described to Barry Miles how difficult it was to adjust to life in New Jersey at the exact moment the Beatles were taking off in the UK After learning guitar in college and meeting Ginsberg at a reading he was rapidly recruited to Ginsberg s touring team a kind of moveable feast in which Peter Orlowski did the heavy lifting I was the secretary and the musician and Allen was the rockstar Much money flowed in but as Miles confirmed Ginsberg gave everything away supporting the legal fees of people in trouble and supporting the careers and lives of film maker and music collector Harry Smith poet Gregory Corso and the very young artist Ai Wei Wei As the light began to fade and the cold sank in performances from young poets livened things up considerably Elmi Ali has great stage presence dedicating one poem Dream Piece to Ginsberg and quoting from one of UK punk s most innovative front women Polystyrene while Ben Graham s This is For Everyone was a kind of updated version of Howl composed especially for this event with no borders no police no dicks The Reclaim Poets a trio performed Enough Is Enough dedicated to Stephen Lawrence and featuring Samuel Akinwale the young man featured in a series of posters placed around

    Original URL path: http://www.corridor8.co.uk/online/review-still-howling-the-wonder-inn-manchester/ (2016-02-15)
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web-archive-uk.com, 2018-01-16