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  • Interview: Constant Dullaart | Corridor8 —
    slightly pigeon holed and if so do you believe it may be another reason why you often refer to your works as performative CD I don t think that the progression of net art has factored into my decisions of the performative analogy as such One thing I would mention is my interest in the media and the potential for immediate gratification For example once a work is viewed online people can retweet it put it on blog or share it and if you hang it in a gallery people may say That s nice which is a completely different reaction Similarly with a performance you can see people react to it right in front of you DM If you were to look at your work The Death of the URL 2013 it s difficult to determine if your view of the current state of the Internet is celebratory or pessimistic Do you purposely straddle the line between the two CD The Death of the URL is a nostalgic work or celebratory of this nostalgia On one hand its nostalgic that the infrastructures of the web are decaying and are being taken over by corporate infrastructures and in that sense its sad that this former ideal infrastructure is passing away On the other hand we are all benefitting from easier web manoeuvrability It s that balance or opposition of ideals It s like proclaiming the death of cinema by making a beautiful movie There is also an interesting variation with the work in that the title which you would normally associate with the URL is actually visible on the page and the URL becomes the section that is animated which is often associated with the main content This change is in place to highlight this nostalgia in a way DM Similar to your show Jennifer In Paradise your work straddles physical and online space Do you approach making physical work in the same way you would approach making an online work CD For me it s exactly the same I experienced two revelations when I finished art school back in 2002 The web was already everywhere and me and my fellow students were under the impression that in order to make work you had to own an expensive camera and after a while I got sick of it due to the sheer amount of content being produced Eventually I sold my camera as I thought that it would be detrimental to produce more of this type of work when there was already so much being made Instead I thought it might be better to offer my help in contextualising some of the content that s out there already The other revelation was that anyone can publish and distribute information now via the Internet and in a way that holds so many possibilities I have been interested in how we access content and how that content is distributed therefore the web started to become my material of choice DM If you

    Original URL path: http://www.corridor8.co.uk/online/interview-constant-dullaart/ (2016-02-15)
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  • Interview: Bob and Roberta Smith | Corridor8 —
    young offenders who learn to design brick walls learning the building trade These kinds of activities don t often get shown in Koestler Trust exhibitions because it is more workman like rather than creative but it is of course an activity that no one would dispute as a good activity for prisoners it is about learning a trade We have also made a video of some of the young offenders who have designed the interior design of their cells themselves as well as those older inmates who design interiors for the younger prisoners making the environment less forbidding And there is another project that we have done alongside this exhibition with responses to writing Ria Sloan from the Koestler Trust In every Koestler Trust exhibition there is a selection of writing For this exhibition I took a selection of writings from previous Koestler Trust projects to Thorncross prison and worked with inmates to produce prints We had six sessions in total We have framed some of the prints for the display and have all the prints and texts in a book available at the exhibition SH The curation of the work is inspired by the look of the Koestler Arts Centre positioned at the edge of Wormwood Scrubs in London what inspired you about that arrangement BRS It is like a Royal Academy Summer Exhibition hang down there We have tried to keep it the same down to the labels on the pieces which display the work s individual k number its category and the name of the institution it has come from and there are various signs lying around that the Koestler Trust use for organising things We have even built a room and put in the same wooden panel doors that they have at the Koestler Arts Centre so visitors have the same sense of the Aladdin s cave that I had when I first visited SH Tell me about the title piece why did you decide to name the exhibition after Snail Porridge BRS It is a great piece of art You have great techniques with the meticulous grading of tones and this snail with a prisoners blue stripy uniform on its shell and you have the pun on Heston Blumenthal s porridge and the pun on time in prison going slowly Then there is the psychedelic wave and a lot about the piece reminds me of then magic roundabout and Brian the snail This work is immensely skilful and seems to clearly present the obvious idea that art in prisons provides a glimmer of hope in long prison sentences SH Do you think exhibition like this present a kind of democratic notion of art and creativity BRS What is funny about these artists is that they are in a situation where perhaps they wouldn t have made art other than the fact that they are in prison with some exceptions but I think it does show how all people have creativity within them I think there

    Original URL path: http://www.corridor8.co.uk/online/interview-bob-and-roberta-smith/ (2016-02-15)
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  • Review: Puppet Show – Grundy Art Gallery, Blackpool | Corridor8 —
    in contrast to the puppets themselves who remain eerily still and silent On the upper level of the gallery Edwina Ashton s installation Midday at the Watering Hole plays on Blackpool s reputation as a beach resort with her creations enjoying their day at a similar environment We stumble upon the scene of these autonomous puppets as an intruder Each with their own personality Ashton s creations have taken on the human aspects of the operators they no longer require Within the main gallery motion comes in measured bursts from the punctuation of small screens which show Pedro Reyes work reflecting on Marx and protest to the anthropomorphised performance of Marvin Gaye Chetwynd with finally the enclosed cabin which screens Dan and Rodney Graham s film Two larger spaces show video work on a more imposing scale Pierre Huyghe s This is Not a Time for Dreaming combines the puppet show with a meta commentary on the medium through the characters featured within both The puppets seem aware of their situation moving as though in the midst of existential ennui having noted their own strings and operators In contrast the split screen installation by Condorelli herself consists of a series of vignettes acted out by puppets in model train carriages The theatrical staging of the film reveals the set and operators above yet the melodramatic qualities and quick paced dialogue allow the viewer to readily suspend their disbelief Key words and phrases are lifted from the film and repeated as text on the right hand panel creating a parallel dialogue which is by turn cryptic and humorous Puppets by Heather and Ivan Morison feature throughout the exhibition in sculptural installations which create a flow the show overseen by the silent striking carnivalesque forms A sense of the uncanny is most

    Original URL path: http://www.corridor8.co.uk/online/review-puppet-show-grundy-art-gallery-blackpool/ (2016-02-15)
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  • Ali Gunn | Corridor8 — | Page 2
    Wu Chi Tsung Dust Site Gallery Sheffield Interview Maria Balshaw Review David Mcleavy Funhaus Toast Manchester Review Yan Preston Touchstones Rochdale Review Simon Bill BALTIC Centre for Contemporary Art Gateshead Review Peter Suchin Model Leeds Review This Inferior Mirage Cactus Gallery Liverpool Review Philip Lorca diCorcia The Hepworth Wakefield Interview Shiri Shalmy Part Two Newer events Older events Contact Corridor8 97 Vantage Quay 5 Brewer Street Manchester M1 2ER info

    Original URL path: http://www.corridor8.co.uk/author/alison-gunn/page/2/ (2016-02-15)
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  • Review: Noel Clueit – Towards Monumental Sculpture, Bureau, Manchester | Corridor8 —
    suitably administrative yet challenging environment that is Bureau s gallery space The grand scale of Clueit s sculpture is balanced by the temporary nature of its materials and installation black and white prints on a large five by eight metre framework It is a work which seeks to explore the nature of sculpture placed within this type of corporate setting questioning if such pieces might function as more than window dressing for the cavernous entrances of business premises It is a work which fills and overwhelms its site yet retains a flimsy ethereal presence Rather than the solid permanence of the commissioned public artwork in bronze or stone we are presented with the suggestion of one This ghost of a future work also reflects upon sculpture s past presence The enlarged glimpses of monochrome suggest a Modernist lineage the forms of Henry Moore speaking of a tradition and connection to earlier generations of sculptors yet ones ultimately misplaced within this urban environment The monumental of an earlier age is transposed and redefined shaped by chrome and glass rather than the gallery or natural landscape The parallel film work Rehearsals For Semiotic Movements offers both a more solid presence in its reassuringly boxy monitors and in its smaller scale enters into a different more intimate dialogue with both the viewer and space The piece features a series of repeated motions carried out by a hand over a laptop mouse pad A stylised performance the motions are nonetheless recognisable such as when carrying out the spreading movement of enlarging an image Clueit positions these simple and pared down actions as a system of signs recognisable to viewers A choreography for now the semiotics of digital consumption Again this piece can be seen in reference to earlier seminal works by Bruce Nauman Dance

    Original URL path: http://www.corridor8.co.uk/online/review-noel-clueit-towards-monumental-sculpture-bureau-manchester/ (2016-02-15)
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  • Review: Joe Fletcher Orr – Under The Thumb, The International 3, Salford | Corridor8 —
    using a melancholic humour to comment on the art world From persuading The directors of the Show to Wear Large Go Joe foam hands and seemingly competing for attention to standing his size 12 s into a amorphous pile off shit Orr seems too purposefully reduce himself and his work in order to reduce the stature of the artist He is consciously placing himself at the mercy of jokes pointing fingers and tumbleweed awkwardness Born In Liverpool Orr acknowledges his heritage his upbringing in Birkenhead and in particular his relationship with his Father working on a stall selling rugs Displayed in The Gallery is Orranorco 2014 Orr s Father s idea of a perfect rug Only the perfect Rug has not turned up it must be on a shipment somewhere on its way from India Bangladesh or China We can only imagine the artist s Father s glorious idea of the rug and instead we are presented with a will do object that emphasises the mundane unromantic realties of life It acts as a portrait of Orr s own social status and how decisions made by his Father determine his identity a universal theme shown in a very specific personal way Orr is witty shining a mocking mirror on contemporary society by placing himself within the work by using clever titles in line with interesting choices of material Streaker is the artist s silhouette bronzed upon the white gallery wall using a spray tan gun A performance carried out up and down the country on a Friday night seemingly smudging identity on to the surface of skin By being so involved within the work Orr is the protagonist investigating social concepts and finding the comical qualities of our insecurities This is a wonderfully depressing show that involves both humour and

    Original URL path: http://www.corridor8.co.uk/online/review-joe-fletcher-orr-under-the-thumb-the-international-3-salford/ (2016-02-15)
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  • Review: Bloomberg New Contemporaries, The World Museum, Liverpool | Corridor8 —
    Hartley s striking We re All Very Disappointed 2013 The giant multicoloured wall sized screen print masquerading as a painted work is a visual stimulus that sets the narrative stage for the rest of the exhibition and urges you into the space to explore further From the combined prints and painted surfaces of Full Stop 2013 by Ebrel Moore to the vitriolic monologue of the digitally colour changing graffiti fox of Reynard With A Vengeance 2014 by Matt Copson works fill the entirety of the cavernous neo classical room without ever feeling claustrophobic revelling in the setting by combining traditional mediums with contemporary techniques and ideas of display The overall curation of the show has clearly afforded careful consideration to the groupings of works in order to produce correlations and frictions of the serious subject matters they confront and only seems to slow down the viewer when trying to view the abundance of the 24 video based pieces on show Displayed on the same make and model of monitors placed on plinths referencing classical sculpture the somewhat high proportion of video works break up the space of the room and can be seen as a reaffirmation by the selectors and curator Kirsty Ogg to the use of the medium at a time when traditional practices are costly and digital based works are readily translatable to other formats and easily dispersible on a global platform The strength of the exhibition itself however is seemingly undercut by a number of minute details that when taken into consideration have the potential to devalue the visitor s overall experience of the show This included wall labels that had slipped to become lopsided and barriers around works that were not installed properly Although minor the detractions serve to cause distractions from the viewing of certain

    Original URL path: http://www.corridor8.co.uk/online/review-bloomberg-new-contemporaries-the-world-museum-liverpool/ (2016-02-15)
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  • Review: Listening – Curated by Sam Belinfante, Hayward Touring Curatorial Open, BALTIC 39, Newcastle upon Tyne | Corridor8 —
    at night while headphones play a faintly disturbing sound track which provokes narrative images In Ragnar Kjartansson s Song the artist s three nieces representing the Sirens of Greek mythology sit on a raised dais in the Ionic and Doric splendour of the Carnegie Museum in Pittsburgh singing repetitive songs for over six hours while a fixed camera circles the dais and its singers Haroon Mirza s Siren continues the theme in a much more abstract cum random manner with a droning radio affected by the static of a light bulb rotating around a cymbal Mirza is interesting in the space where abstract noise meets musical composition In A million cm3 of private space ii a relatively rare silent work by the artist the viewer squats on a rock in fact a block of Purbeck marble by Ryan Gander called Everything is learned ii under a hood consisting of a cubic metre of blackened space suspended from the ceiling in what the exhibition s curator says recollects John Cage s famous trip to an anechoic chamber at Harvard although sound and light still creep into the work Muffled sound is also present in Amalia Pica s Eavesdropping in which the audience is invited to put their ears to glasses fixed at various heights to a wall and try to hear muffled sounds and conversations Also shown is documentation from Max Neuhaus Listen series of acoustic tours of New York and from some of his other works The curator of Listening Sam Belinfante said I wanted to create an exhibition that interrogates the act of listening itself rather than merely its aural objects Listening engages the body in a multitude of ways from the intimate pressing of an ear to a wall to the staggering din of a thunderclap that knocks

    Original URL path: http://www.corridor8.co.uk/online/review-listening-curated-by-sam-belinfante-hayward-touring-curatorial-open-baltic-39-newcastle-upon-tyne/ (2016-02-15)
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web-archive-uk.com, 2017-12-11