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  • Review: Seeing The Forest Through The Trees, Grizedale Forest Visitor Centre, Cumbria | Corridor8 —
    is drawn to the infinitely small the infinity of space the autonomy of plants the algorithms that define our very existence We re reminded of our own in significance within the system and the mysterious complexities of nature In the gallery space Seeing The Forest Through The Trees technology and nature share a harmonious affinity PSX Consultancy creates sex aids to assist plant species that have previously suffered impotency as a result of human interference by relocating plants to an alien domestic environment they are deprived of the insects necessary to re pollinate In the film Dream of Flying by Chiara Esposita we see a succulent hovering above the ground using electrical activity emitted by the plant to navigate a drone or amplified into sound as in Karl Heinz Jeron s greenhouse installation When Plants Sing As our planet enters the age of Anthropocene we re encouraged to imagine a future where creative thinking has a significant and beneficial influence on the development of technology In a green valley below the forest kites flutter in the breeze As part of a project supported by Lancaster University artist Jen Southern investigates the Ambleside Mountain Rescue and the relationship between the tracker dog with his nose to the ground and the global positioning satellite used to track their position The kite representing an aerial point of reference tugs on the hand like a dog on a leash Overhead origami paper planes drift slowly back down to earth from a helium balloon launched via a small motor and a mobile phone Saso Sedlacek s installation Origami Space Race focuses the mind on the practice of precise folding whilst drawing attention to the sky and the ever expanding space junk yard orbiting the earth Located off grid in this bucolic environment where time moves

    Original URL path: http://www.corridor8.co.uk/online/review-seeing-the-forest-through-the-trees-grizedale-forest-visitor-centre-cumbria/ (2016-02-15)
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  • Review: The Manchester Contemporary, Manchester | Corridor8 —
    s partition That galleries from different areas of the country are showing only steps away from one other is commented on frequently and favourably For those not buying art TMC might act as an introduction to new artists and new works and give some indication of the galleries showing there though the galleries must work with the particular limitations spatial and otherwise and prerogatives of the art fair context Supercollider an artist led gallery in Blackpool uses the booth as an off site project space A pile of printed sheets quote the opening of Margaret Thatcher s speech from the 1989 Conservative Party Conference in Blackpool The speech propounds the virtues of neoliberal economics partially via an imagined encounter between a Labour canvasser and East German worker The same conference marked the launch of The Freedom to Party campaign established in opposition to Conservative action to regulate unlicensed parties On the back wall of the booth a video plays on a flat screen TV the clip showing the inside of Blackpool club Shaboo Sasha is performing a set the club is full and the audience moves together It is an instance of camaraderie togetherness fun in a period of continuing economic uncertainty for Blackpool and nation wide a period of governmental efforts to break down alternative leisure spaces Paintings The Ability to Change and One Thing for Another Thing by Hannah Knox are hung against pink camouflage walls at Cactus booth They are made of pastel coloured heat sensitive t shirts stretched across canvas and stitched The collars and sleeves make patterns the shirt s colours change under application of heat Two warped glossed stoneware pieces Foxgloves and Lions by Emily McCartan are arranged on a shelf to its side playing with mantelpiece aesthetics And at the centre of the

    Original URL path: http://www.corridor8.co.uk/online/review-the-manchester-contemporary-manchester/ (2016-02-15)
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  • James Schofield | Corridor8 — | Page 3
    Pleasant Land Rural Life in Art Harris Museum and Gallery Preston Interview Kwong Lee Castlefield Gallery Manchester Review It Was a Dark and Stormy Night Castlefield Gallery Manchester Interview Caustic Coastal x Corridor8 Part 2 Interview Caustic Coastal x Corridor8 Part 1 Review Micro Micro Revolution CFCCA Manchester Review Platform Holden Gallery Manchester Interview Jo McGonigal Deb Covell Real Painting Castlefield Gallery Manchester Newer events Older events Contact Corridor8 97

    Original URL path: http://www.corridor8.co.uk/author/jscorridor8-co-uk/page/3/ (2016-02-15)
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  • Review: Performance Capture, Manchester Art Gallery, Manchester International Festival | Corridor8 —
    behind the project is a simple one Throughout the course of this year s festival on the hour every hour during gallery opening times a person selected from the contributors to the festival programme will perform an excerpt from a poem written by Atkins for the project This performance will be recorded using performance capture technology and then rendered on to the form of a generic human avatar which will cumulatively display every performance in an extended video soliloquy which by the end of the festival has been tentatively calculated to run for a total of around 2 5 hours Once past the strict no photography signs on the outer wall of the first gallery space the room opens out to reveal a large stage complete with lighting rig video screens microphones and cameras where the performances will take place Around the outside of the room are video screens showing some of the digital manipulation alongside a number of painted and printed panels featuring drawings by Atkins and quotes etched into Perspex from his poem The images on the panels conjure scenes of dismembered limbs and sporadic text that when read alongside the extracts are seemingly slowly dissolving into an amorphous nothing of shared violence As it turns out upon closer inspection however the poem extracts that the panels are displayed with and the entirety of the poem itself is actually a rumination by Atkins on the idea of representation and the possibilities and paranoia inherent with it and how it impacts on our wider social existence These ruminations regularly take on more violent undertones as is common with the darker sides lurking just beneath the surface in Atkins practice The panels lead the viewer out of the performance space and into a carpeted room in which they line the back wall melancholically suffused by the whirring of computer fans and the sounds of fingers hitting keys This space the render farm is where the recorded data from each performance is scrutinised by a team of technicians who painstakingly hone the constituent parts of the avatar to mirror the facial and bodily movement of the performer including ensuring individual digital facial hairs move in sync with the digital facial muscles Similarly to Atkins and the other staff in the first room here the technicians seem animated with excitement but whether that will hold up until the 19 th July constantly working on such painstaking procedures remains to be seen Overseeing everything in this space however is a black monolithic computer server stack that completes the render process and allows the avatar to be shown fully Previously Atkins practice has made use of more or less widely available technology but for Performance Capture and because of the nature of the project the half million pound server was needed to ensure the video could be completed in its entirety Moving out of this hub of activity leads the viewer to the final space of the project where the ever lengthening video is

    Original URL path: http://www.corridor8.co.uk/online/review-performance-capture-manchester-art-gallery-manchester-international-festival/ (2016-02-15)
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  • Feature: Fay Ballard: House Clearance, &Model, Leeds | Corridor8 —
    his farewell to the house Describing details she added That red chair was a chair his mother had brought back from Shanghai That pale yellow thing obscuring his legs that s an Eduardo Paolozzi print that he must have used as a draught excluder There is a certain amount of trauma at the root of these drawings which started with a series looking back at her mother who died unexpectedly of pneumonia on a family holiday when Fay was seven in 1964 Very suddenly my mother wasn t feeling very well Fay explained I can remember her being extremely ill she had a fever she borrowed a fan I had I remember a doctor rushing in with an oxygen cylinder and then I remember my father said Go out go out And I remember thinking My mother is dying I think you know in a way when it s happening Anyhow she died my father came out of the room called the three of us Fay her brother and sister hugged us tightly and said She s dead I remember him crying in despair What do I do now I remember the funeral which we all went to We drove back to England and then we never discussed her again in our family The drawings Fay made show some of those significant objects linked with her mother one called Mother Reinstated combines her portrait with a study of the lower half of her body seated wearing black stilettos and with a black handbag on the ground This was where the creative process started Fay says I started to make drawings of my mother to reclaim her To make her evident And to some extent to idolise her I try and make her very beautiful Because she is my Madonna Despite this or because of it Fay says My father was a brilliant father he was the most maternal person you could imagine He was mummy and daddy Some of the most haunting works Fay presents are in a recent series called His Trace which show close up views of very ordinary slightly knocked about nooks and crannies and objects combined with handwritten text at the foot of each drawing The handle of an armchair for instance says Watching Hawaii Five O and the Rockford Files It s the little things Fay says The smell of a kitchen cupboard the remembrance of a stair bannister that resonate with me And what I wanted to do was capture that with a thought such as the chair my dad sat in when we watched The Rockford Files I see my father there The largest works are called Memory Boxes drawings of objects collected together and framed One box for instance is Drawn From Memory and another matching it Drawn From Life I was reading about Renaissance cabinets of curiosity Fay says And I was thinking these are my wonders and I thought about these objects stirring emotion and personal thought Drawn From Life

    Original URL path: http://www.corridor8.co.uk/online/feature-fay-ballard-house-clearance-model-leeds/ (2016-02-15)
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  • Interview: Sarah Perks, HOME, Manchester | Corridor8 —
    this new space that you wouldn t have been able to previously SP It s a beautiful large ground floor space 500m² with 4m high gallery ceilings and multiple options for dividing the large space up or keeping it as an open space It is a space that s easier to transform with false walls lighting and audio arrangements Cornerhouse had three incredibly loved but very quirky gallery spaces you had to curate to the space here you can curate for and with the space the two are no longer in such opposition I also don t know the limits of the space yet or how to transcend them and I m going to enjoy the journey of exploring them TE Will the nature of the exhibitions programme be changing The opening show is closely related to the opening theatrical production The Funfair will you be continuing to produce exhibitions that are closely tied to the theatre and cinema programmes SP We are continuing a cycle of exhibitions inspired by classic texts we ve opened with a show inspired by our in house theatre production The Funfair and the third exhibition is inspired by the influential film Safe Later in the cycle is Imitation of Life inspired by Douglas Sirk s 1959 melodrama about US race issues TE Cornerhouse was quite a limiting space will the new space allow greater freedom A limiting space can answer a lot of questions for you letting you know a lot of what you can t do whereas a flexible space presents more questions so will exhibitions at HOME be more challenging to curate than Cornerhouse was SP One is not necessarily more challenging than the other though Cornerhouse was an interesting space for sure it all still has to come back to the

    Original URL path: http://www.corridor8.co.uk/online/interview-sarah-perks-home-manchester/ (2016-02-15)
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  • Preview: HOME, Manchester | Corridor8 —
    University s Engineering Campus and Hulme s Leaf Street public housing project Before HOME their most prestigious UK building was the Library of Birmingham completed in 2013 Apart from making HOME feel homely their main challenge at HOME has been soundproofing the auditoria particularly the main 450 seat theatre which is only a few metres away from the busy railway viaduct linking Deansgate and Oxford Road railway stations The problem was solved by enclosing the theatre in a box in a box in a box in other words by building walls within walls separating the space from the outside world with three layers of steel and concrete Sitting inside the theatre where on any level you are never more than ten metres away from the centre of the stage I can honestly say I couldn t hear any rumbling sounds from passing trains or traffic on Whitworth Street West I m looking forward to seeing their first theatrical production the world premiere of The Funfair a new version by Simon Stephens of Odo Von Horvath s dramatic comment on economic austerity Kasimir and Karoline directed by Walter Meierjohann The second theatre space which can hold 160 is more free form unseated at the moment it s designed to be adaptable It would be great to see this space used for performance art as well as live theatre or music HOME is not only committed to commissioning new work but cross artform commissioning which means that from the outset its film theatre and visual art programming is intended to inter relate hopefully in intriguing ways Opening HOME s gallery space is The Heart is Deceitful Above All Things a show inspired by that theatrical production upstairs The Funfair Co curated by Sarah Perks and Omar Kholeif it will feature work by eleven artists Jeremy Bailey Declan Clarke Douglas Coupland Irina Gheorghe Flaka Haliti Ragnar Kjartansson Basim Magdy Gemma Parker Zina Saro Wiwa Jessey Tsang and Wu Tsang and includes six new commissions It will also be accompanied by a film programme with work by Stanya Kahn Rosa Barba and Phil Collins At 400 square metres the space for contemporary visual art is bigger than Cornerhouse s former galleries combined and can be divided up into sections or its surrounding windows blocked off Unlike Cornerhouse its floor loading of one tonne enables HOME to install really weighty exhibits And as it s on the ground floor just a couple of steps beyond the box office and bookshop audiences should not be able to miss it HOME s cinema programming also promises to continue Cornerhouse s adventurousness with John Maclean s psychedelic western Slow West coming up soon as well as a number of live soundtrack performances by Manchester musicians Josephine Robin Richards and GoGoPenguin accompanying examples of silent archive and artists films Right now they re showing Carol Morley s highly praised feature film The Falling And there s further Funfair influence on other forthcoming screenings including Todd Browning s legendary 1932

    Original URL path: http://www.corridor8.co.uk/online/preview-home-manchester/ (2016-02-15)
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  • Review: The Storming, Cornerhouse, Manchester | Corridor8 —
    colourful procession up the side of the main building and up to the taxi turnaround area outside Java Bar where they regrouped A squadron of motor cyclists roared up garnering further applause Meanwhile another young man in drag codename Sister Gorgeous started the assembled multitudes chanting Let us in aiming these repeated demands to his mean evil twin inside the building who stood and sneered Bearing a loud hailer St Lukes Art Project s Alison Kershaw spoke to the audience about storming this palace and in so doing democratising the arts in Manchester The chanting started up again Upstairs the defence party were still looking unmoved At this point it crossed my mind that if we the audience were attacking artistic elitism why were we using Cornerhouse to symbolise it after all these years of enjoying the place Wouldn t somewhere like Glyndebourne make a better target Okay it s a long way to travel So that thought was put aside this was only a bit of fun after all just as much a tribute to Jacques Tati s film Playtime as the Russian revolutionary mass action of 1920 the Storming of the Winter Palace And the fun continued with sirens wailing followed by the noise of breaking glass A kind of cardboard coffin was attacked by performers and out tumbled balloons and pink paper tape A window in the bookshop covered in paper and obviously not broken was opened up and performers poured inside Soon after Sister Gorgeous emerged clutching the shrunken head of her elitist opponent held by the hair and announced We won everybody By now the kettled audience was gagging for refreshment so barriers were removed and pink wristbands authorising our admittance everyone trooped into Cornerhouse to the tune of the T Rex hit Children of the Revolution The mood remained jolly as soft drinks were served upstairs while the Samba band played in the downstairs bar Part Two of The Storming took place the same evening and was put simply one big party DJs in all the main rooms and bars open the building became a series of dancefloors I sat on the balcony outside the annex for a while and thought about the old Film and Video Workshop that once functioned in a building below in the alley that runs between Cornerhouse and the Salisbury And soon perhaps the whole kit and caboodle will be coming down Dave Moutrey Chief Executive of Cornerhouse and HOME sat down near me and lit a cigar And who can blame him There is much to be sad about but much more to look forward to At some point I picked up a printed flyer linked to The Storming which read OPEN THE ARTS REVOLUTION IS CREATIVE REVOLUTION IS POSITIVE REVOLUTION IS SUBLIME REVOLUTION IS MANCUNIAN Well I don t want the arts to be elitist any more than you do And I am sorry to see Cornerhouse go And all the other places around Oxford Road Station

    Original URL path: http://www.corridor8.co.uk/online/review-the-storming-cornerhouse-manchester/ (2016-02-15)
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web-archive-uk.com, 2016-10-24