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  • Rebecca Senior | Corridor8 — | Page 3
    Arts Gallery Sheffield Review Blind Gallery Graeme Durant Bloc Projects Sheffield Review High Line South Square Gallery Thornton Review Spit Me Out Said My Ashes To Their Urn GRRG Kennington Interview Jack Fisher Newer events Contact Corridor8 97 Vantage Quay

    Original URL path: http://www.corridor8.co.uk/author/rscorridor8-co-uk/page/3/ (2016-02-15)
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  • Events | Corridor8 — | Page 3
    Biennial Visitors Centre Film by Linda Dutton For his installation a weight of ice carried from the north for you for the 2010 Tatton Biennial the artist explorer Neville Gabie brought a 2 5 ton piece of Greenland iceberg to Tatton Park Gardens country estate in Cheshire Share on Facebook Share on Twitter ARCHIVE Art School Alternatives Film of the Art School Alternatives at Liverpool Biennial 2010 John Moore s University Art Design Academy the Johnson Foundation Auditorium Trailer film Comprehensive film of the artist led workshops and discussions exploring alternative concepts and structures of learning can be found on the Art School Alternatives site http artschoolalternatives tumblr com Symposium chaired by Share on Facebook Share on Twitter ARCHIVE Corridor8 1 Launch July 2009 Click here to see images taken at the launch of Corridor 8 in July 2009 This image A daily bread The New Sign of Infinity The Third Paradise 2009 Michelangelo Pistolette in collaboration with the paulbradleystudio Part of an ongoing project involving artists with patisserie and bakery by the Share on Facebook Share on Twitter ARCHIVE Iain s Sinclair s talk at the launch of Corridor8 Iain Sinclair with Corridor8 publisher Michael Butterworth Iain s Sinclair

    Original URL path: http://www.corridor8.co.uk/category/events/page/3/ (2016-02-15)
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  • Feature: Clifford Owens, The Methods & The Man – Cornerhouse, Manchester | Corridor8 —
    but offers a welcoming dilemma for those who s mind remains skeptical Owens is wise enough to understand and address this dynamic issues of race gender sexuality age and other often obvious indicators are naturally foregrounded in an intimate setting with strangers It is as if the camera not the audience can become the delegated performer for Owens He can collude with either side to stabilise or destabilise the experience yet no one is forced to participate For the man in question however and somewhat dissimilarly to Perks Owens feels no need to defend his work As an artist he simply refuses to acknowledge the negative press whilst on the other hand almost relishing in a shower of superlatives Upon questions regarding his practice reputation and the pigeon holing he has experienced as an artist we are left with a typically whimsical display of self assured bullishness I m not sure what critics you re referring to states Owens or the context of their criticism I don t like pigeons especially when they take a shit on me and labels are decoys So far so typical And yet regardless of the press viewer perceptions or personal opinions of which the vast majority have remained resoundingly positive there can be no denying that by bringing Clifford Owens and Better the Rebel You Know to Manchester Cornerhouse have continued to pave the way for pioneering performance art here in the city In her own creative sights Sarah Perks believes that instead of fading performance art in Manchester now glows brighter than ever Which given the closure of Manchester s Greenroom in 2011 is no mean feat It is an argument that is hard to challenge Continuing on the foundations of her hypothesis Perks furthers her explanation citing Manchester International Festival s Marina Abramović Presents as the catalyst to which enabled Manchester to realise performance art s potential And with regard to Clifford Owens and Better the Rebel You Know Perks cannot speak highly enough of both the artist and audience alike Clifford is another of the great performance artists who have chosen Manchester as the place to showcase their art and people have really embraced the opportunity to experience it Our opening night in May was absolutely packed and we ve received a lot of fantastic feedback from both our visitors and the media With such a statement in mind Cornerhouse s decision to secure Better the Rebel You Know represents something special in the gallery s make up Both daring and pioneering Sarah Perks can be proud to boast Owens debut on European soil The fact that such a debut takes place here in Manchester simply adds to such praise And what about Owens what does the man behind the exhibition itself think of the city hosting his European debut I ve greatly enjoyed preparing for and opening my first solo exhibition in Europe he explains clearly I ve experienced very little of Europe but I m fascinated by the continent

    Original URL path: http://www.corridor8.co.uk/online/feature-clifford-owens-the-methods-the-man-cornerhouse-manchester/ (2016-02-15)
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  • Review: I Would Like to Join a Club and Hit Myself with It, Castlefield Gallery, Manchester | Corridor8 —
    philosophical and scientific references Although sincere in the philosophy and interpretation the first sentence and the material seems to give the reader permission to ignore all the theory just eat the words literally and enjoy the exhibition This sense of fun runs throughout the exhibition through the recurring character of Monty the fly the literal Structure for Reading whilst Standing by Robert Carter and with the lilting tea dance esque music from Ryan Gander s Porthole to Culturefield which creates a sense of light fun throughout The relationship between content and structure runs throughout the exhibition In Am I near enough t the You re too close to the we see a compilation of clips of trainered feet stepping on various fruits This repetition forms the structure of the piece but the content is really the element of human behaviour the self consciousness of each step and the change in application of weight and pressure as the fruit gives way In two of the other pieces the structure is clear though both hint at a content that is illusive Line Drawing presents textured planes manipulated to three dimensional forms and re reduced to their impression on crudely printed paper while Desktop background uses the aesthetic of some kind of plan with graphs diagrams and perpendicular drawings taped together with a familiar structure but without communicating any specific thing The aforementioned Monty is another protagonist of the exhibition and indeed a performance piece specific to the exhibition opening featured Monty being released into the gallery space in order to enjoy the Pier built especially for him as a viewing platform at the opening but to be enjoyed only by Monty himself thereafter Pyramid is a series of projections dedicated Monty s species and presents a grouping of rectangular windows each one

    Original URL path: http://www.corridor8.co.uk/online/review-i-would-like-to-join-a-club-and-hit-myself-with-it-castlefield-gallery-manchester/ (2016-02-15)
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  • Interview: Ryan Gander | Corridor8 —
    and there s never a bad song on it there s a lot of fit girls there lying on blankets This is a real dream I had LH A recurring dream or just a one off RG I wish it was a recurring dream The work and the group show are based around that this imagined place that s a kind of heaven for creatives there are all these writers and historians and ceramicists and chefs all these people who are just flashfire thinkers with brilliant quick ideas who are really exciting to be around and they re all in one place The Castlefield exhibition and the work Dad s Halo Effect which is set to be installed in Beswick in East Manchester are both public engagement projects of sorts in the sense that Castlefield as an organisation now exists in part to foster grass roots talent in Manchester But they seem like very different projects That s my job ideally you wake up and say I want to make this and then someone at the gallery comes along and gives you the opportunity to make it happen but it s not always like that You get asked to do things and you decide whether it s interesting to do them but pretty much everything in Manchester is interesting to me LH What does the title Halo Effect refer to RG The Halo Effect is a term that s used by auction houses to describe an inherent added value that comes about because of an object s history So if I bought a painting and sold it at Sotheby s or Phillips and it was worth 20 because I d owned it and am an artist it would maybe be worth a little bit more because it had been in the collection of Ryan Gander but if Kate and William had owned it it might make 30 It s value added through ownership that s the halo LH So the halo in this case is what RG The halo in this case is my dad because the work was my dad s idea So for me it s more valuable because he s my dad and he s not visually trained he s an engineer LH Do you care about the trajectories that people make out of your work RG No I care that they have done LH but you don t vex over what sorts of experiences people are having or not having around your work RG No not at all I don t fetishise the objects I make I m really happy if they sell because it means I get the money to make another work As soon as the work s finished before it s even installed as soon as I have the crate made I forget about it I m always thinking about the next thing Again that s the job Although it s not the job for everyone some people obsess over the work they

    Original URL path: http://www.corridor8.co.uk/online/interview-ryan-gander/ (2016-02-15)
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  • Review: Lothar Götz – Platform A Gallery, Middlesbrough | Corridor8 —
    practice are represented the public colour saturated wall painting that plays with architectural space and the people that inhabit it and the more intimate geometric drawings made in the artist s studio and in hotel bedrooms across Europe Dominating the gallery is the site specific painting Reflection 2014 which covers the far wall and responds to the steel frame of the space by tilting its axis to the diagonal It cuts through doors skirting boards and the viewer s sense of reality Its lines are reminiscent of Russian Constructivism and yet its colours draw on more recent concerns the atmosphere in the gallery and the facades of neighbouring buildings visible through the large windows Squinting at it it appears as a spinning flowerbed or a high chroma Battenburg cake It is a hybrid composition a retro confection Reflection holds a dialogue with smaller works such as the nearby drawing The Line of Beauty 2013 whose straight lines of desire drawn in coloured pencil between points on acrylic painted wood criss cross and cross again to create shimmering colour fields Similiarly in Yellow Attack 2011 coloured pencil and gouache on paper yellow wedges appear to launch an attack from the periphery on other more centrally placed diamonds of colour The works are in an active state However perhaps it is the twin drawings hung in the gallery entrance White Nights Pink and Yellow 2012 14 that draw together issues of colour and scale most coherently Their juxtaposed black and bright urban colour resembles smashed screens or mirrors on which images can now only be viewed in the imagination They are fragments and we attempt to piece them together Middlesbrough audiences are familiar with Lothar Götz work through his beautiful drawings Houses for Bauhaus Masters in the group show Language of Vision

    Original URL path: http://www.corridor8.co.uk/online/review-lothar-gotz-platform-a-gallery-middlesbrough/ (2016-02-15)
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  • Review: Rosie Morris and Sam Grant – Phase, Castle Keep, Newcastle-Upon-Tyne | Corridor8 —
    refers to its placement in the building is a small wood crafted kinetic sculpture instrument with a wooden arm that strikes the surface at regular intervals The piece sits humbly on the floor of the vaulted chapel chamber inviting close inspection of its impressive intricacies but the echoing of the sound also draws attention to the acoustics of the room and in turn to the architectural details in the surrounding surfaces At the heart of the building in The Great Hall Morris and Grant have collaboratively produced a sound piece and film The film projection is so subtle that it s difficult initially to make out noticeable only if you direct your gaze to the ceiling and observe a delicate flickering This ephemeral work shows a time lapse of light entering the space over the course of one day but becomes evocative of the rise and fall of light as a perpetual cycle over the building s 800 year history A more physical response comes once you emerge onto the rooftop where Morris has installed a series of angular coloured sculptures like shards of a deconstructed abstract painting Initially they seem to jar with the impressive views from the Keep s peak however spend time with the work and with Grant s ambient sound piece and the forms start to pick up on visual details in the city skyline offering a scenario in which to pause reflect and consider the harmony of contemporary intervention and historical environment When artists elect to respond to historically loaded buildings the question remains as ever of how to compete with such steadfast architecture and weighted context without the artwork becoming lost or secondary to the environment On the other hand there is the challenge to present works that retain presence without overriding features of

    Original URL path: http://www.corridor8.co.uk/online/review-rosie-morris-and-sam-grant-phase-castle-keep-newcastle-upon-tyne/ (2016-02-15)
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  • Interview: Shaun Doyle and Mally Mallinson | Corridor8 —
    show should be and then shoehorn people s work into that format We also intended that the show should be bigger than the gallery itself We wanted works outside and in off site locations too but because of time and money that didn t happen We re really glad that the performances were such a big part of the show s opening especially Alexis Milne s outside in the yard We d seen him perform at New Art Gallery Walsall and although that was fantastic I thought it worked better in the yard it felt more raw Having the window hatch wide open was an important decision too It made sure that everyone who walked past could see the show even if they didn t want to come in MM What we didn t want PIGDOGANDMONKEYFESTOS to be was a academic genre defining survey show that would be way too dry the exhibition was conceived as an installation and not a run of the mill group show SD I know what you mean about questioning whether the gallery can be a suitable environment for the manifesto to thrive but to say no would be an admission of defeat you d have to ask what good the gallery was doing if you couldn t do the show there I d also see it as a challenge If you were to say the gallery s the worst place to have a manifesto show then I d say right that s where its going to be then TB Perhaps it s the bravado and absurdity of some of these manifestos or how the show is hung but it seems the spirit of Futurism Dada and Fluxus is somehow present in the gallery space How might this style of presentation reminiscent of the Dadaists emerging in 1916 give thrust to these 21 st century artworks MM maybe those grainy images of the First international Dada fair of 1920 were in the back of my mind but really the work dictated the way it was presented It s a curious hybrid of a fucked up group cum salon style hang the way the pieces jostle for space gives the work an energy that would be absent in a more conventional hang SD To have any sort of coherence the show had to be an installation otherwise it would just end up looking like an overhung group show We were against the idea of acres of white wall space being around works There s a lack of respect for some pieces that was deliberate in that we wanted works to jostle for attention No one makes work in a vacuum To go for that white cube aesthetic would be ridiculous in a show like this There had to be a real debate amongst the works and I think they re stronger for being in that melee Some of the walls themselves become fields of vision where different ideas can move around like collage on a bigger

    Original URL path: http://www.corridor8.co.uk/online/interview-shaun-doyle-and-mally-mallinson/ (2016-02-15)
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