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  • Review: Totemic; Polemic. Olive, Caustic Coastal, Manchester | Corridor8 —
    mist of failure Simplistically drawn and portrayed on a small scale these complex objects offered little more than confusion due to their compressing translation Purposefully designed arguably by Black to embody the objects original perplexing essence Harry Meadows last to enter the space framed some of his digitally printed silk fabrics with a thin red acrylic plastic that had been etched into the wall to resemble an enlarged charity wristband Causing some head scratching reactions Lauren Godfrey in a similar vein reminds us not to take her assemblages of found objects too seriously Arriving to Manchester with nothing Godfrey has engaged with her surrounding by using materials at hand During her week in the gallery the artist has progressed into constructing her own pasta alphabet which when deciphered reads Taste The Rainbow The real crux of Totemic Polemic Olive besides when you stop to consider what happens to the nature of all the work knowing that it has been accumulated rather than simply installed Typical for a Caustic Coastal exhibition the linguistics of displaying art are up for interrogation and the die hard habit of pedestaling work is avoided like the plague Pushing us towards a method of interpretation that exercises our understanding of cerebral practices it is difficult not to cynically ask the question how do all these images that become sculptures in the space add up Clearly aware of each others presence our instincts conceivably could draw the conclusion that all four practices are loaded with nothing but their own individual connotations Offering us little more in the way of references to classic 1990s pop music or a particular brand of sweets notorious catchphrase Such a devil s advocate attitude though is easily disjointed as it is in our nature to desire subsistence Thus we begin to nourish

    Original URL path: http://www.corridor8.co.uk/online/review-totemic-polemic-olive-caustic-coastal-manchester/ (2016-02-15)
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  • Review: TRIAL / ERROR / ART, Holden Gallery, Manchester | Corridor8 —
    deal in the anthropomorphic Eyeballing sees her present the viewer with a series of faces as found in the everyday urban environment Human nature leads us to see faces in inanimate objects and although it can provide easy amusement Nashashibi seems to treat it with a degree of paranoia as though the viewer is being watched The paranoia becomes apparent by pairing this with footage of police officers entering and exiting their station building The nature of the clandestinely filmed footage gives the impression that the police officers are acting suspiciously as they come and go from the darkness of the building inside playing with our fears of authority figures particularly when those figures have guns As such the viewer is placed in the position of being both watcher and watched Batchelor is another to take inspiration from the urban environment with his Found Monochromes a series of images of white squares and rectangles collected over an 18 year period Batchelor moves away from his usual colour based work to a collection of its absence The images are presented in a rapidly moving sequence allowing only brief moments to focus drawing attention to the white spaces serving to make them look out of place within their surroundings Left blank and presented in this manner they become modernist statements a readymade abstract waiting to be discovered by Batchelor Dealing in the exact opposite territory to Batchelor Breuning s Smoke Bombs are literal explosions of colour but with Breuning himself ascribing his art as meaningless it s hard to see these as anything other than pretty images Similarly to Signer van der Werve also addresses danger with Nummer Acht Everything is going to be alright albeit in a less playful manner We see van der Werve walking through a desolate arctic landscape

    Original URL path: http://www.corridor8.co.uk/online/review-trial-error-art-holden-gallery-manchester/ (2016-02-15)
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  • Featured | Corridor8 — | Page 3
    Gallery Preston Interview Jack Fisher Review Feel Me The Birley Preston Review Superior Goods and Household Gods Castlefield Gallery Manchester Review by and by Set The Controls For The Heart Of The Sun Leeds Review Cornelia Parker The Whitworth Manchester Applications Now Open Critical Writing Bursary Workshop Programme Derek Horton covers the artist run scene in Leeds with reviews of You Just Fucked With the Wrong Mexicans and Quickie Newer

    Original URL path: http://www.corridor8.co.uk/category/online/featured/page/3/ (2016-02-15)
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  • Review: Common Bodies, East Street Arts Project Space, Leeds | Corridor8 —
    a group exhibition It behaved like one larger installation piece Everything was swallowed into one wider context the context of McGinn s own creative space As a consequence the tensity between collective quarrels and individual references was seductively strained Not to wade into Donald Winnicott s theories too much it is clear however that a theme of inner reality overlapping with the outer world pervaded throughout The works dragged us through today s contemporary media landscape in a quarrelsome manner CGI d content and highly fashioned advertising imagery flowed through the show like blood gushing round our bodies Jemma Egan s From Here to Eternity 2014 stood out as a prime illustration A fixed shot film of two hot dogs rolling back and forth slowly cooking in oil glistening in their fake yet desirable position The anxiety of online engagement was also captured Liv Thurley s vile I Liked You Better Before You Were Naked on the Internet 2015 caused shudders as the viewer sampled an exaggerated teenage girl constructing a sense of exaggerated self Jack Fisher s Pass It On 2014 turned the modern movement of consumerism specifically the protection of consumers against useless inferior or misleading products on its head Using the term artist to indicate the common exploitation of customers Fisher commissioned a useless inferior performance of kids passing a coconut round in a circle through Fiverr com If you re unfamiliar with Fiverr com it is a platform whereby you can find any services needed for just five pounds Credit to McGinn who boldly flirted with composing nothing more than a vanity project The imposed grander narrative that came from McGinn s own curatorial creativity personified the glitches of the virtual The awareness towards our natural mechanisms highlighting defensive actions implemented the fear that comes inherently

    Original URL path: http://www.corridor8.co.uk/online/review-common-bodies-east-street-arts-project-space-leeds/ (2016-02-15)
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  • Review: Simeon Barclay: Man’s Not Ready, STCFTHOTS, Leeds | Corridor8 —
    popular cultural production Traces of re appropriation were constant throughout from the Picasso postcard to the gestures of smoking and fashion subjectivity Parallels between synthetic and authentic governed the artworks in Man s Not Ready Works spanned across mediums of sculpture painting and installation and each piece referred to different facets of not only our emotions desires and anxieties but also the prisms in which they exist Works subverted dominant sections of our social relationships in individual subjects which reflected local cultures and global attitudes By restating our visceral engagements with not only the artworks but also environment Barclay interwove the two strands of contemporary culture and individualism with recognisable images textures and texts There were two interplays present within Man s Not Ready the synthesised modalities of culture and the visceral and the interplay between the emotive and subjective self The works embodiment of these discourses made paramount the complexity of consumerism and the construction of identity In suggesting a new alternative reality to exist within Man s Not Ready re articulated the different realms in which our identities are pushed to uncomfortable boundaries and therefore asked us to query the infrastructures of culture and the manifestations of self within it It was through these works and the linguistic syntaxes at play that these divisions were bought to the forefront of our relationships to the artworks As seen in House of St Pierre 2015 where vinyl letters hint towards a sense of placement a sense of home Through its complex mediums and rich territory of artworks Man s Not Ready prompted the viewer to reposition themselves within the prism of art Not only as a meditation upon the external modalities but in relation to our objective and subject self As the title seemingly suggested perhaps we are not ready

    Original URL path: http://www.corridor8.co.uk/online/review-simeon-barclay-mans-not-ready-stcfthots-leeds/ (2016-02-15)
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  • Review: Gary Barker: New Territories of the Filth Dimension, Assembly House, Leeds | Corridor8 —
    in the exhibition allowed him to subconsciously wade his way through this word image dichotomy and document his process of conflict resolution between form and text If the titles of the works gently alluded to socio political ideology e g I stand in deep mire where there is no sinking This is why your science is failing then the drawings themselves plunged the viewer into sensory overload Thought provoking and meticulously executed they were highly unnerving rich in fantasy and filled with dystopian dreams Figures were captured in mid air as if they have been tipped out of sinister buildings in the sky vague skyscrapers protruded through the clouds unsexed headless forms darted about as if fleeing from some insipid terror while others morphed into tree branches or were eaten by pigs But the pigs weren t just gluttonous in a Huxlonian vision they were depicted dancing and reading texts Intriguingly a deck of printed cards Cards of Identity encouraged the viewer to intersect these stories and form their own tarot mirroring the escaped narrative of figures who had made their way onto the ceramics and wallpaper Standing in front of one of the large tapestry like drawings which depicted

    Original URL path: http://www.corridor8.co.uk/online/review-gary-barker-new-territories-of-the-filth-dimension-assembly-house-leeds/ (2016-02-15)
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  • Review: Roadside Museum, BasementArtsProject, Leeds | Corridor8 —
    the stuffiness and pomposity usually associated with the display of priceless and rare museum artefacts were disrupted by the several artworks which were able to be handled The works spanned various media from painting and sculpture to sound and photography Several artists utilised analogue media such as tape cassettes and slides as if to suggest that the burial and unearthing of this media were symbolic of the resurrection of the postmodern analogue medium Chris Wood s Untitled took a recorded soundscape from the farm burial location which was then subjected to the land s natural decomposition of the tape reel and Graham Dunning s Sound loss and decay Music by Metre experimented with the analogue process through abstract soundscapes on a looping turntable The two exhumed book works on display by Topp Dubio and Barbara Ekström also arguably represent archaic forms of media in contemporary culture one only partially decayed and one almost entirely The erosion of surfaces during the burial process was another theme shared between the artists Verobika Lukasova s In Time Underground Occurrences examined the effect the burial had on 120mm transparencies and Raksha Patel s Untitled consisted of prints taken from a 35mm film shot on the farm location before and after burial Fred Martin s Exvagus also emphasised the surface erosion of material but instead of examining the effect on existing works as Lukasova and Patel had done Martin buried a blank zinc plate and made prints from the patternation resulting from soil erosion Samira Shafiei s buried painting The Unending Series transformed flat surface into sculptural installation through the decay process Originally the largest work in the collection the canvas was buried at the bottom of the demarcated plot A projection showed some images of the original work against a brick wall which effectively

    Original URL path: http://www.corridor8.co.uk/online/review-roadside-museum-basementartsproject-leeds/ (2016-02-15)
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  • Review: Painting in Time, The Tetley, Leeds | Corridor8 —
    a wall it now focuses upon being something more than a stationary finished two dimensional work of art it exists within an expanded field it accentuates the methods of its own dissemination and the very materials that it is constructed from Painting in time is a fervent study of the new and subverting practices within the contemporary discipline and wholeheartedly celebrates the loss of painting s former integrity Natasha Kidd has white emulsion sporadically pumped onto her canvases through a series of pipes as the paint flows off the canvas it dries on the floor before gallery attendants release more wet paint through the pumps There is a Yoko Ono toilet and tank which allows the viewer to hammer nails into it Polly Apfelbaum exhibits her work piles of pigment and glitter on little plasticine bases on long trestle tables and the viewer triggers them off by walking around the tables whilst viewing the work from different positions Claire Ashley s inflatable painting inflates and deflates every fifty minutes and her humorous film Ruddy Udder Dance shows dancers inside another inflatable work performing a choreographed dance sequence In Hayley Tompkins Digital Light Pool acrylic paint is poured into plastic trays and the work is created as the paint dries A series of images are placed next to the drying trays in order to juxtapose the states of alteration and stillness Kate Hawkins allows spectators to view her paintings as three dimensional works by attaching them to the gallery walls with hinges she allows viewers to move the paintings even standing some on legs and placing one work in the gallery fireplace By exploring the notions of temporality spectator gallery participation process as well as product performance and theatricality Painting in Time provides a bold and eclectic study of the contemporary

    Original URL path: http://www.corridor8.co.uk/online/review-painting-in-time-the-tetley-leeds/ (2016-02-15)
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web-archive-uk.com, 2016-10-23