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  • Review: CAVE Art Fair & Service Provider at Liverpool Biennial 2012 | Corridor8 —
    of performative encounters occurring throughout the three days for a small fee such as Oliver Braid s one hour performance presentation Sincerity Shoe 2012 Despite displaying a large volume of work within a relatively small space CAVE never felt cramped Interesting dialogues often emerged between different works providing a fluid and engaging path around the space Although only open for a short period CAVE felt like a significant development It is a brave and exciting artist led project that offers substance while also possessing rich potential for the future The next edition of CAVE will be highly anticipated As official partners of the Biennial for the first time The Royal Standard are exploring the overall festival theme of hospitality in Service Provider Relinquishing control of its gallery space and website to five invited artist groups The Royal Standard are only present in a controlled entrance foyer space that is also an observation room Invited groups must use the three divided gallery spaces to provide a service during their tenure The first incumbents are Tether who present This is it a project comprising of an installation active studio space and a series of public events within the gallery All activities are concerned with representations of history through a dual focus on America and recognition of destruction prominent in the red white and blue banners hanging outside of the building Each hand stitched banner was adorned with an American image within a single letter but read in pairs The multitude of relationships and power structures that will occur between the different actors who will occupy the gallery may prove to be difficult to articulate at times The project recognises this through its core format of performance and events as opposed to an exhibition As observers within their own space how will The

    Original URL path: http://www.corridor8.co.uk/online/review-cave-art-fair-service-provider-at-liverpool-biennial-2012/ (2016-02-15)
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  • Review: Empire Drive-in, AND Festival | Corridor8 —
    techno ethereal love story Gravity was Everywhere Back Then post rock soundtracks and live Mad Max performance Tranarchy Taken together all these elements constructed a haunted funny and melancholic archaeology of failure Casting a shadow over the future of contemporary commercial dreamscapes malls cinematic complexes the ruined drive in seemed to herald a fresh genre of cinematic fetishism Set against the increasingly futuristic over dominance of indoors digital entertainment this style of movie going reclaimed an open air synesthetic and ultra material sense of past it uncovered the hedonistic remnants of what used to be experienced as future in the past This genealogy of future a pop historicity of future was the combined effect of setting films and landscape The wrecked cars did not only comply with the video projections of urban decay they also evoked a dysfunctional or abandoned device of moving images The images viewed by the window of a moving car allude to the spectatorial and hypnotic experience of cinema This similarity between car window and screen gazing is highly visible in many classical films and especially in Mad Max in which the spectator is recurrently invited to assume the viewing position of the driver The immobilized body of a dead car however is bereft of this visual illusion in the same way that a 1980s sci film viewed in 2012 is bereft of the illusion of future ness In this respect both cars and films looked like broken time machines of visual pleasure All this contrasted ironically with the plots projected on screen there the futuristic technology either strived to restore the fragility of human experience Robocop Gravity was Everywhere Back then or to assert a neo primitive explosion of wilderness Mad Max In all cases the traumatised devices of illusion cars cinematic space seemed to

    Original URL path: http://www.corridor8.co.uk/online/review-empire-drive-in-and-festival/ (2016-02-15)
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  • Interview: Polari Mission’s Jez Dolan | Corridor8 —
    We have produced a curator artist tour which is performative in feel though not strictly performance which covers some history some etymology and some of the context of why Polari existed then declined The next stage will look at Joe and I collaboratively making some new visual art work and we are also looking at gathering participants to become more involved in the project using oral history exploring archives etc AH How does this project relate to your previous work JD A couple of recent projects of mine have had an LGBT aspect to them but personally the Polari Mission is the first project I ve done which has such a strong research starting point and an open framework Collaboration has always been crucial to what I do and how I do it I m really interested in the possibilities of collaboration between artists and non artists and how that process can be inclusive on all sides AH Are there difficulties in creating visual work based on something that is hardly even written down JD For the blackboard drawings we used Polari words and phrases with a few drawings to illustrate them The idea behind these is that they are obviously repeatedly drawn written rubbed out recovered which we felt embodied the hidden disguised nature of Polari and the way in which to most people now Polari is a mystery I think that we ll also utilise the language itself and look at typefaces which were again contemporaneous I ve been lent THE CHELSEA COOKBOOK 1970 a cook book for the bona viveur with camp cooking for town dwellers Again something else that we can adapt a visual language from AH Is your mission to save Polari about archiving it Or putting it back into use JD I hope that

    Original URL path: http://www.corridor8.co.uk/online/interview-polari-missions-jez-dolan/ (2016-02-15)
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  • Interview: Angie Atmadjaja | Corridor8 —
    Contemporary Art Centre it s a structure that is very much placed in the heart of a forest hidden from view unless one ventures deeper into it I was very much seduced by this idea and at the same time it relates very much with my own practice There are sound artists who investigate sound through its sonic properties that refer to memories and direct relations to a specific environment and particular sound source I do not share these concerns I investigate sinewaves and filtered noise through their physical properties how they respond to a particular space and to the bodies encountering them By working with this physical phenomenon I am containing the experience of moments Visitors do not enter the work to perceive beyond their peripheral selves they are instead made aware of their own perception how their height body weight shape of their ears and the way they walk influence their perception The experience of each observer becomes the object of the art Regarding the site I wanted to create a clean empty space with minimal visual information an environment that moves the focus away from the eyes an invisible work influenced by the site In a way the work is site specific because at the end of the exhibition the work was completely destroyed At that moment TILT was understood to be site specific but on invitation by Jiang Jiehong the co curator of 4 th Guangzhou Triennial TILT has now shifted to be a site dependent work Despite retaining the principle idea and creation process in the Guangdong Museum of Art the work will relate to the new acoustic dimensions of the given site SP How different TILT will appear in China AA In Japan a window was left uncovered allowing the outside environment to enter

    Original URL path: http://www.corridor8.co.uk/online/interview-angie-atmadjaja/ (2016-02-15)
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  • Commentary: The Revenge of Paper (Gallery) | Corridor8 —
    one enters the tiny space the lines of interrogation multiply How can paper be used in a functional visual playful conceptual provocative documentary accessible affordable dangerous and sexy way Is paper based imagery still alive after the death of painting Can paper orchestrate new forms of art attacks within the ordinary the mundane and the domestic The works on display flesh out a panorama of responses to these aesthetic challenges Three dimensional web avatars are framed within painting portraits David Hancock Sexualized paper bodies intersperse with the photographic images of human flesh Dawn Wolley if the former points playfully towards the representation of a simulation a paper version of the web the latter underlines the simulation of a representation mass media fantasies enacted through paper bodies Visual attacks on documents words and diagrams transform the institutional the functional and the informative into emblems of the oneiric the uncanny and the poetic Alice Bradsaw Philip Davenport Julie Dodd Bethan Hamilton Naomi Lethbridge Leanne Richardson Devoid of their use value micro commodities imprints notebooks cups are turned into art fetishes Richard Shields Jenny Steele Self portraits of performance artists open visual windows into un worldliness animalism and spirituality Anna Puhacca Nicola Smith Miranda Wall Finally landscapes of motion action and memory develop into manifestos of presentness absence and emptiness James Moore Simon Woolham Positioning the artworks within drawers and walls of the microscopic compact room the gallery space becomes in itself a reflection on paper ness and illusion evoking simultaneously the intimacy of a domestic room the commercial simplicity of a gift shop and the creative energy of a studio paper gallery ultimately becomes the spatial simulacrum of paper construct In this imaginative space paper is not meant to represent it rather transcends the conditions of representation In other words it is

    Original URL path: http://www.corridor8.co.uk/online/commentary-the-revenge-of-paper-gallery/ (2016-02-15)
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  • Review: Dave Griffiths at Castlefield Gallery | Corridor8 —
    which recently manifested in a co production of the featured Babel Fiche commissioned by Film and Umbrella Babel Fiche examines the nature of digital image archives through an online collaboration with a number of artists filmmakers writers and a musician Griffiths takes open source data sharing as the means of collecting a selection of images from the immensity of online content to be archived as an edition of unique colour microfiche plates a relatively redundant technology developed in Manchester in 1850s A bank of microfiche readers is set up in the gallery for visitors to scan over whilst a double sided screen documents the project in an 18 minute HD film This conversion from digital to analogue is the polar opposite of what many organisations and individuals are currently undertaking with their archives as the world around turns digital Alongside Babel Fiche is a second installation Deep Field The Photographic Universe consisting of three large table structures featuring formations of curious dots Magnifiers are placed on the tables inviting visitors to investigate further what these embedded views contain On close inspection each backlit image reveals a microscopic galaxy through a cut in the wooden surface The magnification reveals jagged splinters of cut wood holes where the unassisted eye sees neat and precise incisions further emphasising the scale of the images These microfilm galaxies are accompanied by a large wall drawing scaling the two storey height of the space with a telescope directed at the mass of coordinates marked in black and labelled as Earth Manchester FOV 40 2012 09 08 18 00 00 A commonality of both these installations is the notion of seeking The idea that large amounts of data are now omnipresent facts of life suggests the role as viewer is one of browser sifter scanner selector and

    Original URL path: http://www.corridor8.co.uk/online/review-dave-griffiths-at-castlefield-gallery/ (2016-02-15)
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  • Bryony Bond | Corridor8 — | Page 3
    Bond Interview Victoria Udondian Video Derek Horton at The Bluecoat Corridor8 3 3 launch Interview Ahmed Carpenter Interview Richard Taylor and Naomi Tattum Bloc Projects Review Graham Hutchinson Untitled Gallery Video Roger Luckhurst at S1 Artspace Sarah Lucas at Henry Moore Institute Leeds Manchester to London 2012 Projection 4a Piccadilly Place Manchester Newer events Older events Contact Corridor8 97 Vantage Quay 5 Brewer Street Manchester M1 2ER info corridor8 co

    Original URL path: http://www.corridor8.co.uk/author/bryonybond/page/3/ (2016-02-15)
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  • Interview: Henry Northcroft Brown and Joseph Whitmore, Crown Building Studios, Liverpool | Corridor8 —
    we want to do moving forward It s been a year or so now since we ve started having conversations about the work HNB We ve also started to get in touch with museums having conversations with people in those areas of speciality as we ve looked to move the work forward RB What are you re trying to explore through the work JW It s hard to sum up in one The relationships between making and the history of humans and a sense of place in time So we have these ancient rocks that are ancient artefacts that were formed in ancient human times and then we ve replicated that through Henry making rocks in the same way that rocks are made Using the same processes of layering minerals circulated around each other and carved The flint tools that you see frames were used to make other works that you see in the exhibition There s so much work that we ve made that we haven t put in the show We re starting to build our own museum archive of work and picking and choosing which bits to present HNB It s also about regurgitating processes that is part of our interest We re trying to redefine processes that have been lost throughout time and trying to bring them up to a contemporary art standard and explore that as a concept We used the flint tools to carve the casts of other rocks for example RB Is that bringing the process into a contemporary space or contemporising the process itself HNB I think it s contemporising the process itself It s almost like when you look at post modernist art a lot of the shapes and the forms that they re using within post modern art is actually very very similar to what was prehistoric art the sort of shapes and mark making JW The Venus models and a lot of the sculptures and the jewellery that was made in prehistory are quite similar to abstract sensory work HNB It happens in all different fields of creation like neo classical architecture is just an amalgamation of Ancient Greek architecture So it becomes this swinging motion of things being regurgitated again and again I think that prehistoric work is an area that is still shrouded in mystery which has captured both of our imaginations Because it s before the written word it s interesting to see the legacy that they ve left us and what you can get from it at the end of the day it s all theory and speculation RB How do you see this body of work developing JW The big idea for us is to get funding and start working at archaeological sites with archaeologists and document how they would document excavated finds Going to an archaeological site and getting a real sense of what s going on there you can t even begin to imagine how it feels when something gets uncovered You

    Original URL path: http://www.corridor8.co.uk/online/interview-henry-northcroft-brown-and-joseph-whitmore-crown-building-studios-liverpool/ (2016-02-15)
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web-archive-uk.com, 2016-10-28