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  • Derek Horton covers the artist-run scene in Leeds with reviews of ‘You Just Fucked With the Wrong Mexicans’ and ‘Quickie’ | Corridor8 —
    of the artists in the show His music video El Gas explored some of the tropes of Mexican identity following a domestic gas canister on a whimsical trip through Mexico City that ended with the death of everyone involved A second video work by Calderón Kitty Fight an enigmatic short loop of a playground fight gave the show one of its most powerful images a Mexican schoolgirl giving the camera and thereby the viewer the finger The smallest work in the show was for me easily the most powerful Coldly erotic and coolly toying with genre distinctions Salome by Alejandro García Contreras was like a hybrid of a Meissen porcelain figurine and a miniaturist Jeff Koons Unambiguously bloody the naked Salome embraced John the Baptist s head on a platter atop a column that transformed it into a phallus Contreras is a founder member of the collective Neter Proyectos in Mexico City who collaborated with the curators in selecting the artists for the show The curatorial strategies of Whittingham and Slinger made conceptual sense and visual coherence of an eclectic mix of artists each with a very different aesthetic using a diverse range of media The Leeds based collective Seize accomplished the same thing in a finely balanced display in the tiny but pristine space offered by the gallery within Assembly House Studios where most of the group s artists are based It is a tribute to the collaborative spirit and the curatorial skills of the Seize artists that their exhibition too jokingly titled Quickie successfully created visual and conceptual coherence from widely disparate works from the rococo textiles of Sarah Joy Ford to the formalism of Will Turner s sculpture from appropriated objects Daisy Forster s Humbug Ned Pooler s Floating Points and Lily Ackroyd Willoughby s Leaner in close proximity to each other shared not only their space but a knowing wit a playful use of materials and a teetering balance of formalism and representation in their precociously insistent objecthood The bright orange tongue emerging from a fake marble container in Forster s piece brought a certain lasciviousness to the proceedings and looked almost ready to lick up the detritus of broken plaster on the floor that resulted from the invited audience interaction with Eleanor Mason s work Mason had carefully stacked a pile of plaster cubes some fabric covered beneath a set of three suspended cubes made of similarly printed fabric stretched over wooden frames and the stack was destroyed and the plaster fragmented over the course of the opening night The starkly different materialities but superficial monochrome tonal echoes between Forster s marble effect vinyl and Mason s screen printed fabric were two of many subtleties of placing in this skillfully curated show Pooler s Floating Points brought to mind Rauschenberg in its twisted elegance but the scrap metal construction subtly shifted its meaning when closer looking revealed it was actually the support for an oil painting With its three dimensional calligraphy simultaneously rooted to the

    Original URL path: http://www.corridor8.co.uk/online/derek-horton-covers-the-artist-run-scene-in-leeds-with-reviews-of-you-just-fucked-with-the-wrong-mexicans-and-quickie/ (2016-02-15)
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  • Review: Katharina Fengler – Sweetness, Cactus Gallery, Liverpool | Corridor8 —
    each piece Blurring the boundaries between sickly sweet and garish the colour palette reflects the increasingly narrow margins between natural and digital in our current times without ever drawing a clear demarcation between the two The titles of all the artist s works are related to turning points in our understanding of perception which can be ignored when viewing them but if acknowledged refines the conceptual possibilities for each and in this case points to the Austrian American public relations expert Edward Bernays Through his own pioneering work Bernays introduced the psychology of his uncle Sigmund Freud along with other philosophers into everyday advertising practice and helped develop consumerism into what we know today This link seemingly explicitly ties into the use of one of the most popular and recognisable chocolate bars in recent times as the only motif within the entire exhibition and in Fengler s own words in the press release written by artist Jaakko Pallasvuo says she chose them mainly because of the attractiveness of the object it s very simple but also very appealing it comes from a commercial language but in the image it s just an abstract tool for me hovering between abstraction and representation looking lovely but also a little bit like poop I could have used other candy but somehow the Twix works very well so for the show the images are all in some form with a Twix The idea of the Twix acting as an abstract tool for Fengler is also apparent in the only three dimensional work in the show A Dreamer Is A Dream Too 2014 where the form of the chocolate bar itself has been recreated and enlarged out of salt dough and Styrofoam in a similar construction method to her Unused Potential sculptures The use of

    Original URL path: http://www.corridor8.co.uk/online/review-katharina-fengler-sweetness-cactus-gallery-liverpool/ (2016-02-15)
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  • Editor picks | Corridor8 — | Page 3
    Review Mathew Parkin 45683968 Set The Controls For The Heart Of The Sun Leeds Review A Sublime Confluence Rick Copsey Platform A Gallery Middlesbrough Newer events Contact Corridor8 97 Vantage Quay 5 Brewer Street Manchester M1 2ER info corridor8 co

    Original URL path: http://www.corridor8.co.uk/category/online/editor-picks/page/3/ (2016-02-15)
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  • Review: Medieval helpdesk, International Medieval Congress, University of Leeds | Corridor8 —
    manifestations of the medieval Joseph Lewis s portiv church 2011 a curious church shaped wooden box whose crude mechanical inner workings were revealed by lifting the levered roof howled out tuneless string music once its Press Me foot pedal had been activated portiv church appeared strangely dateless despite its electrical components and conveyed the idea of an alternative historical past Kitty Clark s Drag Me to Hell Bring Me to Life 2015 turned the object noise dichotomy of Lewis portiv church on its head as the viewer was subjected to an atmospheric audio piece intended to represent or invoke the experience of burning witches The sound came from a pair of headphones attached to a piece of flesh coloured silicone which was hanging from the gazebo s ceiling by a chain These horrifically violent acts of persecution assumed a new and uncomfortably contemporary figuration in Clark s Barbie like plastic face forcing the viewer to confront the commodification of historical violence and its dissemination in popular culture Melissa Burn s Lectern 2015 was comprised of a stack of gilt edged prints displayed on a sumptuous blue wooden lectern The prints were free take and depicted an array of geometric shapes that vaguely resembled medieval technical drawings The work seemed to re enact the propagation of liturgical information in the medieval period which was largely communicated to the illiterate through image and spoken language The prominence of language in Medieval helpdesk was further emphasised by the Confraternity of Neoflagellants performance Ask the Anchorite 2015 which took place under the table clothed helpdesk itself The performer assumed the identity of an anchorite someone who has withdrawn from secular society to lead a devotional and ascetic life in a confined space The Anchorite sat under the table whilst Eggleton and Steans encouraged visitors

    Original URL path: http://www.corridor8.co.uk/online/review-medieval-helpdesk-international-medieval-congress-leeds/ (2016-02-15)
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  • Article: Going to Ost, Book Launch and Exhibition, & Model, Leeds | Corridor8 —
    find new forms of writing to express these new concerns Mostly under Moorcock s editorship New Worlds ran for over 74 issues from 1964 to 1979 but its apogee was the period July 1967 to April 1970 comprising 26 issues 173 200 when a small Arts Council Grant enabled it to adopt an A4 glossy format and run features on art and a handful of small press continuations in the late 1970s 212 216 The first of these large size editions had cover art by MC Escher The second carried an Eduardo Paolozzi cover and a feature on the artist by Christopher Finch Finch s first foray into art criticism With that issue Finch became New Worlds Art Editor in subsequent issues he introduced Richard Hamilton and other visual artists to the literature of the New Wave After a drunken editorial meeting Paolozzi was made Aeronautics Adviser New Worlds attracted conceptualists such as Meadley who enjoyed playing with ideas Going to Ost reads like a book that doesn t mind whether it s a book or not A slender series of encounters by its protagonist Bukh Tabrolf Terongh makes up the narrative as he journeys from the outposts of Empire where he has made his fortune to Ost the city of his birth Each encounter prompts a tale The interest lies in the telling of these unlikely episodes which progressively expose more about the character and indeed the author whose sources and obsessions are clearly in evidence Herman Hesse the Norse Goddess Hel Chinese landscapes board games music hall obscure histories and hunting game However never enough is revealed the reader being made to feel like the willing but perpetually enticed donkey until the narrative abruptly stops The novel s gestation is equally spirited The first episode was published as a short story in New Worlds Further parts were commissioned but never appeared due to the magazine folding The MS then continued in piecemeal fashion Whenever the author s wife wanted to know What happens next another section was penned In 1987 Savoy Books the Manchester publishing company took an interest and on the offer of publication the manuscript was completed But the MS went missing before publication could take place It has only very recently turned up again and was finally published forty years after its author first began writing At Leeds Ost became an exhibition at which a book was sold Titled Book Launch and Other Stuff its brief appearance it was sub titled now you see it now you don t was the second part of the author s 3 Works About Time Of the first even briefer work Meadley says If you missed it or saw it without knowing what it was don t worry it won t be the only thing you ve missed Of the third of the 3 Works he maintains it will necessarily be posthumous The exhibition was hung by Harry Meadley who also assisted in the curation and comprised four groupings

    Original URL path: http://www.corridor8.co.uk/online/article-going-to-ost-book-launch-and-exhibition-model-leeds/ (2016-02-15)
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  • Review: SIMULACRA, CFCCA, Manchester | Corridor8 —
    more and more for an original meaning On one hand we are given a view of the world through the eyes of China On the other hand this still tells us nothing about China itself In the process of this looking we become aware of our Eurocentric gaze When we impart this looking hoping to find something out about China we are instead met with the history of western visual imperialism The scene emerges with an angelic ambience morphing choral tones and floods of natural light We see Rodin s Thinker The Eiffel tower the White House We see couples perched on the edge of a Parisian fountain kissing in slow motion At some level we all know this familiar scene is a simulation However in this case we can t as easily accept it There s a visual nagging an architectural disproportion uncanny smiles poses held for just a bit too long Scenes fading from one into the next are too smooth as if an advert for the new iPhone camera A family poses on an angry camel by the pyramids of Giza and a social housing tower block As the camera zooms out from micro to macro the music quietens and becomes more tinny What sounded like violins reveals itself as the artificial hum of a MIDI keyboard This is simulacrum clashing on an epic scale and in the process forming new undiscovered meanings Next we see a bride s unhappy face arranged by a photo assistant into an eternal billboard grin We see couples taking selfies in familiar poses replicating post card images even the pose of Rodin s Thinker Here the deep human impulse to replicate develops a maddening momentum Seeing this we submit poetically slipping into a blissful un reality This is the catharsis of

    Original URL path: http://www.corridor8.co.uk/online/review-simulacra-cfcca-manchester/ (2016-02-15)
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  • Review: Oculist Witnesses: According To Duchamp, Harris Museum and Art Gallery, Preston | Corridor8 —
    Facing the sculpture and minutely mirroring the events in the room stands Hamilton s wall mounted Oculist Witnesses According to Duchamp Impossible to ignore it commands your attention quietly like a holy relic The clear pure aesthetics hint at indecipherable secrets The two oil paintings included in the show and placed either side of the glass are current works by the artist Lindsey Bull Dark and brooding the ambiguous characters suggest disturbed psyches lost in dilemma and oblivious to scrutiny Observed simultaneously the colours and contours correspond almost magically with the lines and angles of Sovay Berriman s sculpture Berriman looks for the abstract in landscapes or experiences Exploring the nature of objects she develops moments or matter into drawings and sculpture or markers as she calls them The Entertainment Suite is an ongoing project which evolves and mutates according to its environment in this case to the atrium ceiling above it Using the title of the show as a starting point this version attempts to explore notions of observance and openness Jutting concealing exposing the shards of acrylic rear up and ricochet into empty space Imprisoned centre stage is a large blue cloth bundle a marker intended to suggest emotion or angst Inspired by surrealism her work acts as a trigger for the imagination the sculpture leaves its closed form and enters what Duchamp described as the fourth dimension what you can t see with the eye The postcards by Ruth Claxton may be small in size by comparison but as a response to the Oculist Witnesses they are very relevant Bearing in mind the original procedure used by Duchamp of painstakingly scraping away the silvering right up to the drawn line these finely cut found postcards echo the same skill The references to the historical resonate perfectly with

    Original URL path: http://www.corridor8.co.uk/online/review-oculist-witnesses-according-to-duchamp-harris-museum-and-art-gallery-preston/ (2016-02-15)
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  • Review: Lynda Benglis, The Hepworth Wakefield | Corridor8 —
    totally within or without the artworld context Instead it captures the vitality of Benglis transgressive artistic practice in all its material conceptual and political complexity In the exhibition s smaller threshold room Benglis fallen painting Baby Contraband 1969 splurges from the upper left hand corner reaching out to the aluminium extension of the wall bound Wing 1970 A third work the video Now 1973 nestles in another corner This triumvirate stand in for Benglis earlier practice a moment in which she became famous Baby Contraband is an example of one of the works that gained the artist acclaim as the next Jackson Pollock Made by pouring paint mixed with latex across an area of floor the pour works extended Pollock s gestural abstract expressionism from the field of the canvas to the material s limits Wing carried this experiment further returning to the wall but this time as a site for sculpture The crest of Wing s silver wave is process and materiality frozen as art and this work is one of few surviving from an ambitious series of installations in 1970s Now offers an experiment of a different kind or rather a different medium The work plays with video technology and the mediatory possibilities of taping and re taping so that the artist converses with and eventually kisses herself Benglis posturing in this work parallels that in the images on display from the print portfolio Self 1970 76 These photographs in which the artist dresses and undresses playing about with different roles and genders caused a ruckus in the New York art world where they circulated in shows on exhibition invitations and in the advertising pages of art industry magazines The exhibition stages Benglis multi faceted art For instance her use of glitter to fragment the surface of Sparkle

    Original URL path: http://www.corridor8.co.uk/online/review-lynda-benglis-the-hepworth-wakefield/ (2016-02-15)
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web-archive-uk.com, 2017-12-11