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  • Review: A Joyous Thing with Maggots at the Centre, Castlefield Gallery, Manchester | Corridor8 —
    take the form of mixed media pieces influenced by graffiti that contain the artist s now synonymous palette of lurid yet harmonious colours and graphically sexual and violent hand drawn imagery and cryptic statements Enacted amongst others by caricatured versions of a Sikh soldier and Gordon Highlander which were originally created as part of Jojoboys 2014 Pandhal s commission for the Glasgow International in response to the Camp Coffee brand s historical advertising the acts forced upon each other are a bacchanal of violence and fetishised sexual desires The desires propagated by the characters use colonial subjugation between the soldier and Highlander as the locus for exploring how modern culture and collective consciousness have developed to both popularise and demonise the acts themselves yet offer no fixed view on the subject This sense of fixity as a topic also recurs as a theme throughout the exhibition such as with the fixity of identity culture and morality hinted at within the narratives of the various pieces The fixity of the works themselves are also questioned most overtly in Profane Illuminations 2014 a two channel video work commissioned by Castlefield Gallery and Full circle Arts that launched simultaneously at the exhibition and online The work projects an erratically filmed view of a visit to the Golden Temple at Amritsar where the camera pans in and out of focus with no centered point of reference opposite a recording of the artist sat on his bed discussing the initiation ceremonies of an unknown tribal culture that again features camera panning similar to the temple visit Through his monologue and attempted evocation of an ancient world Pandhal is able to draw upon the work of Michael Taussig alongside naming the exhibition after the chapter title from one of his books in order to explore the

    Original URL path: http://www.corridor8.co.uk/online/review-a-joyous-thing-with-maggots-at-the-centre-castlefield-gallery-manchester/ (2016-02-15)
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  • Review: Holly Hendry – Hollow Bodies, Gallery North, Newcastle upon Tyne | Corridor8 —
    presents plaster casts of familiar pillow like forms hung upon aluminium frames The plaster casts appear soft sagging over the frames hanging on as if about to slip off and shatter on the gallery floor Hendry toys with our senses making what is solid appear soft and shifts our understanding of forms removing a familiar form and siting it within a new context There is an understanding of classical architecture apparent in some works such as Somewhere Near Domus Aurea in which she presents a partial colonnade made of timber painted in black and white stripes Somewhat reminiscent of Buren s Les Deux Plateaux 1985 86 in the French Palais Royal similarly Hendry reframes classical architecture with a contemporary rendering Colourful sandbags pin this structure to the ground making it evocative of a stage set or prop an architectural motif not quite true to its origin and one that can inhabit multiple spaces Opposite Take Good Care of My Baby sees a pile of white and pink cog like casts piled atop each other The resulting effect is that of a ruined classical column that has been broken and reassembled but shifted from classical to contemporary somewhere along the way Breathing Space is an inflated sickly pink latex form encased within a timber frame Simultaneously satisfying and repulsive the partially deflated latex sags floppy The work which one assumes must change throughout the duration of the exhibition must have initially been taut against the frame and as a viewer we observe it slowly degrade The title which nods to the human lungs and physiological respiration is crude and yet powerful transforming this giant form into a bodily space Hollow Bodies is an authoritative exploration of different types of space Domestic spaces are present in pillow like casts architectural spaces in

    Original URL path: http://www.corridor8.co.uk/online/review-holly-hendry-hollow-bodies-gallery-north-newcastle-upon-tyne/ (2016-02-15)
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  • Review: Gego. Line as Object, The Henry Moore Institute, Leeds | Corridor8 —
    material Never what I do Nowadays the definition of sculpture has moved far away from the heavy immovable objects of Gego s preconceived notion and it seems appropriate that her suspended forms should be shown in an Institute dedicated to sculpture When entering the gallery you are met with her series of Drawings Without Paper 1983 These consist of wire sculptures as if a pen line has jumped from the white background of the wall behind the drawing now hanging in three dimensional space This series illustrates some of the most important aspects of Gego s work and the themes that run throughout the show It is not simply the wire object in Drawings Without Paper that demands our attention it is the negative space and what we can see through that negative space Gego was very conscious of the shadows that her work creates and this is seen clearly in the next piece in the exhibition Vibration in Black 1957 This torso like structure of aluminium hangs suspended in space slowly rotating the body plays tricks on your eyes and its projected shadow produces fantastic rippling effects This is Gego s earliest sculpture and may be seen as being influenced by the Kinetic Art movement in South America at the time of its creation Moving through the exhibition the true breadth of Gego s work is represented from her weavings to print making watercolours and Bichitos 1987 89 which are a series of small sculptures made out of leftovers from other works and discarded objects including telephone wire and a bag to carry lemons In the white walled space of Gallery Two you encounter her larger sculptures balanced like clouds and seemingly to defy gravity These pieces are created from individual wire lines forming geometric patterns that are hung

    Original URL path: http://www.corridor8.co.uk/online/review-gego-line-as-object-the-henry-moore-institute-leeds/ (2016-02-15)
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  • Review: Pop-Pop-Music, Hyde Park Picture House – Recon Festival, Leeds | Corridor8 —
    of both mediums This unique show borrowed music and incorporated it as not only a soundtrack to the visual art on show but also as art with its own merit drawing upon the themes and layers of meaning and significance attached to many well known songs from the recent past to create an emotive and captivating audio visual journey Opening with a hypnotic and confident mix of elegantly controlled film by Steina Vasulka and the nostalgic sounds of the anthemic Let It Be by The Beatles merging the work of an industry changing band and one of the pioneering early adopters of video art to set the tone for the show Bringing together works from the 1940s to the early 21st century Pop Pop Music assembled pieces with differing cultural value in sound and visual art that moved from feeling like a nostalgic documentary to a comedic flashback and then at times offering an intimate insight to the past Reminding the viewer not only of the social and historical significance of particular pieces of music but also their power to still move us in new and exciting ways in the present A personal favourite moment was the powerful juxtaposition of New Order s timeless hit Blue Monday a prelude to the musical and club scene revolution of the 1990 s and the politically charged work of The Duvet Brothers challenging class inequality privatization and the heavy economic polices of the Thatcher government that would pave the way for the creative rebellion of the next decade Simultaneously the piece nodded to the broader significance of the Duvet Brothers in the show reel as pioneers in the field of scratch video a creative movement that utilised found footage and sounds such as older broadcasting clips and music to create new aggressive pieces

    Original URL path: http://www.corridor8.co.uk/online/review-pop-pop-music-hyde-park-picture-house-recon-festival-leeds/ (2016-02-15)
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  • Lauren Velvick | Corridor8 — | Page 3
    The Sun Leeds Review A Sublime Confluence Rick Copsey Platform A Gallery Middlesbrough Review Doug Bowen Stuff Bloc Projects Sheffield Review Urban Psychosis The Holden Gallery Manchester Review Richard Slee Work and Play Tullie House Carlisle Review Liverpool Biennial Claude Parent Tate Liverpool Review Stephen Iles Between Space The Tetley Leeds Review Chance Finds Us Middlesbrough Institute of Modern Art Middlesbrough Interview Peter Seal Newer events Older events Contact Corridor8

    Original URL path: http://www.corridor8.co.uk/author/lauren-velvick/page/3/ (2016-02-15)
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  • Review: The Manchester Contemporary 2012 | Corridor8 —
    Anne Marie Ros Projects As for the work on display drawing remains a prominent feature of the Contemporary this year as it was last year Mary Griffiths graphite grounded abstract inscriptions provide a striking feature of Bureau s offering and a contrast to Rachel Goodyear s International 3 reliably intriguing figurative drawings some transposed to ceramics Also worth seeking out are coloured pencil drawings by Yu chen Wang Chinese Arts Centre whose fantastical and weirdly erotic machineries were drawn during a residency there last year Of local interest too is the tornado drawing of Alistair McClymont Man Eve an artist currently showing at Salford s Islington Mill Equally diverse were the paintings on show with geometric shapes being a notable trend here Apart from those of particular note are Magnus Quaife s watercolour musicians WORKS PROJECT Evi Grigoropoulou s striped oils Untitled Gallery and Ian Andrews fecund oily swirls Man Eve Three dimensional work by Juneau Projects Ceri Hand Gallery stood out for their laser cut and etched perspex wall hung dioramas There was something formally pleasing too in Jeroen Bodewits s Anne Marie Ros Projects witty combines in which porcelain figurines find themselves wedded to glazed or gilded stoneware fungal growths In the printroom Bodewits s screenprint of a grain silo stood out for me as well Elsewhere great prints were to be found in screenprinted and marbled suminagashi papers by Abigail Reynolds Seventeen printed slogans by both Pavel Büchler s Bureau and Ruth Ewan s Rob Tufnell and Max Stokes s Workplace Gallery rehearsal room photoprint There was a happy buzz around the evening preview Nice to see representation from city including new and promising art spaces Salford s Paper Gallery being a welcome new face to Manchester s art community With three of the curated exhibitors hailing

    Original URL path: http://www.corridor8.co.uk/online/review-the-manchester-contemporary-2012/ (2016-02-15)
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  • Review: Liverpool Biennial 2012 | Corridor8 —
    the bakery In supporting the collective community ownership of properties and by reopening the bakery as a social initiative the aim is reintroduce hope through the communities own projections and desires Additionally artist Jemima Wyman whose exhibition is held in FACT is also working in partnership with the community Her artwork entitled Collective Coverings Communal Skin 2012 explores primal methods of weaving as a communal activity using hunting t shirts donated by members of the public as the weaving material on hula hoop looms Through scheduled workshops the artist works with the community to pensively weave objects of conflict into objects of comfort extending the piece throughout the building and softening the architecture Another highlight of the Biennial is Doug Aitken s The Source an immersive video installation contained in a temporary pavilion situated adjacent to Tate Liverpool on the Albert Dock The Source is repositioned away from the hierarchy of institutional and cinematic space Being beyond what is in the gallery The Source raises questions about the centrality between white cube and black box Doug Aitken describes the project as an archeological dig revealing the source of the creative process The spherical architectural design created in collaboration with British architect David Adjaye OBE ensures an autonomous space devoid of a dominant screen empowering the viewers to construct their own curatorial decisions This idea extends throughout other venues of the Biennial and in fact of the Biennial itself decisions and associations between the exhibition spaces are left open and independent This is significantly portrayed in the LJMU Copperas Hill Building exhibiting Bloomberg New Contemporaries 2012 where both the organization and venue are principally democratic Situated in the old sorting office the building itself becomes a source of intrigue and the division between the venue and the exhibits is distorted In

    Original URL path: http://www.corridor8.co.uk/online/review-liverpool-biennial-2012/ (2016-02-15)
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  • Part 4 of issue 3 launch at The Manchester Contemporary | Corridor8 —
    Part 4 of Issue 3 of the journal a special Manchester edition An event will mark the occasion on Sunday 30 Sept at 1pm with writer and broadcaster Bob Dickinson who will be examining the cultural landscape the buildings and the visual art that s nurtured in Manchester and will be plotting how the city can navigate the pot holes of conformity and corporate dominance Dickinson is also the guest place writer in this issue which also puts the spotlight on the North of England s difference makers individuals who have changed the cultural landscape for the better Curator Rosie Cooper looks back over the long standing and exceptional John Moores Painting Prize and the edition includes a specially produced print insert by Peter Liversidge an artist whose proposals created a unique debate for the John Moores Painting Prize this year All four parts of Issue 3 will be on sale at the Corridor8 stall including a unique binder free to subscribers of the Issue that brings all four parts together into one volume The binder will be on sale but readers may also subscribe before September 30th to receive it free With 21 exhibitors this year s Manchester Contemporary

    Original URL path: http://www.corridor8.co.uk/online/part-4-launch-at-the-manchester-contemporary/ (2016-02-15)
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web-archive-uk.com, 2017-12-11