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  • Review: Both Sides Now: It was the Best of Times? It was the Worst of Times?, CFCCA, Manchester | Corridor8 —
    political themes instigated by the exhibition s accompanying text seem to be the concern of the works on display In gallery 1 Rachel Maclean s The Lion and The Unicorn 2012 played at a volume which enables it to be heard from any of the three CFCCA gallery spaces appears to be given pride of place Three characters a lion a unicorn and a queen debate matters of Scottish nationalism trade and finance It was filmed on location in Traquair House a former hunting lodge for the kings and queens of Scotland according to its website and a magical and romantic setting for weddings Each character is played by Maclean in costumes that are part ITV period drama part Steve Bell cartoon She lip synchs a script pieced together from audio culled from television debates on the then approaching referendum on Scottish independence David Cameron s impassioned Burns Night re citation of To A Mouse is delivered by the lion over a bagpiped version of Skye Boat Song a speech so ignominious it caused at least one YouTube commenter to buckle with cringe Rumination on national identity and the extent to which it is grounded in romance crops up again in David Blandy s animation on the wall opposite Anjin 1600 Edo Wonderpark 2014 It stars the artist rendered as an anime character walking through landscapes styled on Edo period woodblock prints Over this Blandy narrates the story of the work s creation a story which begins with the story of William Adams the first Englishman to reach Japan and the only to be granted the title of English Samurai The artist goes on to discuss his own relationship with Japan his childhood friendship with a boy from Chiba and his experiences in the virtual worlds of Midgar and Neo Tokyo The video ends with the artist evaluating a real world trip to Japan the transcript of which reads like a negative if rather artful TripAdvisor review I expected space suits and shiny surfaces sublime beauty Instead I got ugly municipal architecture and tasteless sweets In the private view night introductory talk it was noted that a theme of revolution surfaced in several works on display Comparisons were inevitably drawn between last year s referendum on Scottish independence The Lion and the Unicorn and the pro democracy protests in Hong Kong The latter is the subject of two works on display Birdy Chu s The Interviews 2015 a short documentary filmed in the city s occupy sites and Ellen Pau s True Colour 2014 a video installation in which footage of the protests is projected over a tent and post it notes haphazardly stuck to the gallery wall What exactly the viewer was to deduce from comparing the two political events however was not revealed Similarly the fact that the majority of works selected for the exhibition don t deal with these events or any political event for that matter was not addressed That is not to say the works

    Original URL path: http://www.corridor8.co.uk/online/review-both-sides-now-it-was-the-best-of-times-it-was-the-worst-of-times-cfcca-manchester/ (2016-02-15)
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  • Online | Corridor8 — | Page 4
    Calder at The Hepworth Wakefield Interview Paul Bramley and Jenny Eden Review Glenn Ligon Encounters and Collisions Tate Liverpool Liverpool Review Seeing The Forest Through The Trees Grizedale Forest Visitor Centre Cumbria Spotlight Do we need to grow up The Newbridge Project Newcastle upon Tyne Review The Manchester Contemporary Manchester Preview We and Onion Widow at Fred s Ale House Manchester Review Down in the Dumps Cactus Liverpool Interview Henry

    Original URL path: http://www.corridor8.co.uk/online/page/4/ (2016-02-15)
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  • Back Issues | Corridor8 —
    Information Subscribe Buy Search Back Issues Issue 1 Issue 2 Contact Corridor8 97 Vantage Quay 5 Brewer Street Manchester M1 2ER info corridor8 co uk 44 0 161 236 5885

    Original URL path: http://www.corridor8.co.uk/category/back-issues/ (2016-02-15)
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  • admin | Corridor8 —
    admin The shape of further things Corridor8 films Secs and Death Cells Exhibition The Hive Manchester Thursday 7th April 2011 Corridor8 1 Launch Iain Sinclair Contact Corridor8 97 Vantage Quay 5 Brewer Street Manchester M1 2ER info corridor8 co uk

    Original URL path: http://www.corridor8.co.uk/author/admin/ (2016-02-15)
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  • Review: Ida Ekblad, BALTIC Centre for Contemporary Art, Gateshead | Corridor8 —
    mutated bodily sculptures with items such as sand and handbags removed from everyday context and instead spill across the floor It is hard to ignore the nightmarish connotations that Ekblad s odd assortments carry yet simultaneously there is playfulness an almost child like innocence This is most evident through bold use of colour and scribble like shapes Ekblad became interested in graffiti and street art during her teenage years and this influence is still evident There are also Situationist influences an Avant Garde movement active from the late fifties with a key component of their manifesto being that of capitalist critique Though Ekblad is more playful than political particularly when it comes to her use of the shopping trolley Accompanying the artist during her nomadic journeys of material collection as well as being used to collect the components of her sculptures the trolleys are transformed into sculptures themselves Not only are they are filled to the brim with her found items but she paints them etches lines of poetry into their wheels and even replaces the wheels with heavy duty ink rollers Before transforming into a work of art the trolley is a practical device to the artist it is a means of transporting yet also a means of creating She inks up the trolley wheels and runs them sporadically across her large canvases Hence the scrawls and scribble motifs The trolleys are a vital component to Ekblad s BALTIC exhibition arranged in a circular formation suggesting a carousel of trolleys the stillness provides an unnerving air This is enhanced by low lighting and extreme shadows that seem to dance along the walls The lack of carousel music seems to emphasise the silence of the room The arrangement of Ekblad s work forces the viewer to navigate the space to

    Original URL path: http://www.corridor8.co.uk/online/review-ida-ekblad-baltic-centre-for-contemporary-art-gateshead/ (2016-02-15)
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  • Interview: Beatriz Olabarrieta on Plot Bunny at NGCA, Sunderland | Corridor8 —
    is in my opinion our biggest institution When it comes not only to art but other essential life and or metaphysical concerns I suffer from inarticulation I say suffer as if it was an illness but it is in way like being ill hahaha sick of the need to find words to describe something Not being able to say that something carries a strong feeling of disempowerment which I also find very exciting and fruitful I am interested in that moment or movement when getting closer to being able to know and name something but never managing Nothing can be fully comprehended or known even mathematics is constantly changing The story narrative or knowledge of my work is always slipping away and I accept the chase turning it into one of my making materials 4 A number of your video pieces show you writing and drawing on a series of black and white images which I suspect are images relating to some of your earlier works If so your interruption of these surfaces repurposes and recontextualises the material with the effect that meaning becomes fleeting or inherently mutable just as the sculptural objects within the show are not autonomous or fixed However what I refer to as meaning Martin Herbert refers to as the re siting of content is the displacing of content more appropriate way of talking about your works as opposed to the notion of meaning which implies something perhaps more fixed and intentional The images used in the videos don t refer to previous works They are images and drawings that have been pre informing my ideas about this specific show I collect a lot of images but mostly I have avoided working visually with them as I used to believe sculpture is all that is left once the image is gone and I was in a blind mission to focus and understand material and or sculpture in itself This is changing now and I hear the need to start letting images be physically part of the work Here thinking out loud I am wondering if images are a replacement for words in my work Someone mentioned once overlaps with Joan Brossa a spanish artist who was one of the founders of visual poetry in the 1940 s As Martin Herbert s text exposes I used to work in poor theater and at that time did a lot of writing so it might well be that all these influences are starting to filter back in I am maybe also making more permeable work or I have created now a material sculptural language that can host vessel receive or stage this new old content Anyhow it is not a pre planned strategy it is the work that leads the way re siting that unfolding content that you are referring to 5 As I was walking in and around your show meandering through videos mounted on mobile stations precariously balanced objects and material propositions I was reminded of Richard

    Original URL path: http://www.corridor8.co.uk/online/interview-beatriz-olabarrieta-on-plot-bunny-at-ngca-sunderland/ (2016-02-15)
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  • Review: Mikhail Karikis, The Endeavour, The Gallery at Tyneside Cinema. Newcastle upon Tyne | Corridor8 —
    endurance of a life in an industry that appears to be sinking in the region Crowell was once the only boat builder between Amble and Hull The Endeavour persists in providing its viewer with a well crafted audioscape As the dual screen offers a detailed survey of the builder s tools and work space our focus is attuned to the energetic array of accompanying noises that soundtrack the liveliness of the workshop This is typical of the style which Karikis has developed always gifting his viewer s with a fine attention to audio After neatly setting the scene of the boat builder s workshop Karikis shifts the viewer s participation to the introduction of a harmonica player whose appearance sails through the two screens He plays a tune that you might not be familiar with and so the exhibition interpretation aids our understanding at this point informing us know that the song was made famous during the Jarrow March of 1936 and that it is not the tune of a sea shanty as it might first seem Also known as the Jarrow Crusades these marches were organised demonstrations in which men walked from Jarrow to London to object against unemployment It s a little tricky at first to make the connection between these components but the link is the region Coupling the north east heritage of boat building and protest Karikis choreography of the harmonica protest tune and the Noize Choir poignantly demonstrates on the demise of familiar industries that the region once thrived in The film is a tender offering enlivened by the persistence of the north east based noise art collective Noize Choir whose short sharp repetitive tones recite various obsolete professions and quicken the pace to the work s conclusion The presence of the choir like sirens

    Original URL path: http://www.corridor8.co.uk/online/review-mikhail-karikis-the-endeavour-the-gallery-at-tyneside-cinema-newcastle-upon-tyne/ (2016-02-15)
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  • Review: Tony Swain, Undetailed Progress, BALTIC Centre for Contemporary Art, Gateshead | Corridor8 —
    individually From a distance Swain s works look like haphazard scrawls of paint splashed across the newspaper yet upon closer inspection the layering of the paint is delicate to the point of intensity Brush strokes are clearly visible and one may note the precision in which Swain has applied his medium His application varies from light washes to heavy handed dashes of dry brushing creating a dynamic pictorial plane There is an undeniable sense of exploration apparent in his work Swain s depictions vary from relatively tranquil landscapes to distorted abstract forms As if in search of something his neglect of realism and his fixation on fragmentation result in his work displaying elements of the fantastic Balance is a vital as Swain works with bold hues layered against softer tones The images and texts of the newsprint are also carefully considered as Swain chooses what to reveal The fragile canvases of newspaper are not sourced from entire pages but instead several fragments are collected and pieced together Through the use of collage Swain creates thought provoking colour schemes and incredibly intricate works This fragility is further maintained in the hang Swain defies most gallery conventions by eliminating the use of frames in all but one piece Instead the works are attached to the wall with blu tack The presence of the singular framed work consequently look out of place yet allows the viewer to comprehend the organic quality Swain conveys The tactility of the materials and hark to the crumpling sound expected when encountering newspaper the urge to reach out and touch Swain s delicate pieces is difficult to resist It is this delicacy and use of material that makes Swain s work so effective The newspaper works seem so out of place in this gallery setting yet at the

    Original URL path: http://www.corridor8.co.uk/online/review-tony-swain-baltic-centre-for-contemporary-art-gateshead/ (2016-02-15)
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web-archive-uk.com, 2016-10-28