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  • Review: RESOURCE, Bluecoat, Liverpool | Corridor8 —
    leaning against the opposite wall of the gallery The anchor for Resource is a line from the organisation s founding manifesto outlining the aim to promote the diffusion of knowledge This is achieved in a number of ways not only through artworks but also a commanding events programme and the inclusion of The Piracy Project and The Serving Library The exhibition is curated by Marie Anne McQuay who was appointed as Bluecoat s head of programmes in 2014 and it is clear that she is using this moment to set out her stall in terms of the direction she wishes to take the organisation Through Resource McQuay calls on artists to expose the inner workings of the Bluecoat making it transparent and accessible In order to convey this sensibility there is a heavy handed approach to curating utilised The aforementioned symmetry between the works of Cain and Payot is complemented by the backdrop to Ian Whittlesea s The Demonstration of Gentleness 2015 video which reflects the adjacent work of Sean Edwards Edwards piece Untitled Amis 2013 a wall made up of MDF boxes which dissects the space is described as having 209 parts Interestingly and this being the kind of exhibition where one feels obliged to examine every aspect and detail the structure appears to only comprise of 203 parts Two questions arise here why would one feel the need to question the interpretive information provided And is there an intention on behalf of artist and or curator to deceive the viewer Ian Whittlesea s work visually dominates the exhibition through his videos and colourful paint and print works When Marie Anne McQuay features in one of his Becoming Invisible video pieces Becoming Invisible Bluecoat Bob Sofia Denise Michael Marie Anne 2015 he films gallery staff in situ having them

    Original URL path: http://www.corridor8.co.uk/online/review-resource-bluecoat-liverpool/ (2016-02-15)
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  • Review: Peter Fraser: A City in the Mind, Open Eye Gallery, Liverpool | Corridor8 —
    city as though he had never been there in his body but only in his imagination In a series of intimate and ambiguous images Fraser reveals a profound vision of London which appears to have little if any resemblance to the city as we understand it By converting to a digital process for greater clarity and by using pigment printers Fraser has achieved radiance in colour which has subsequently revolutionised his practice Although over the years digital photography has been viewed with some apprehension Fraser s poetic purpose fully justifies his method Throughout the conversation Fraser revealed the significance of colour in his work using pigment printers that are physically capable of producing the microscopic physical pigments of colour like in the Palaeolithic cave paintings to generate the vivid hues in his photographs Fraser also commented on his particular fascination with blue recalling his encounter with the film Powers of Ten 1977 looking at the earth from outer space perceiving the blue sphere like an imagined universe thus conjuring notions of the sublime Throughout the discussion Fraser revealed his approach to photography describing the process as intuitive drawing on the energies from the unconscious to the conscious mind in order to give an expressive form to these energies experiencing a flash of recognition of the magnitude of what is before him Fraser s obsessive approach pushes against what is understood by a photograph His method is suggestive of an alchemical process as his images elevate quotidian objects to a divine and transcendental platform Fraser and Durden also discussed the British photography tradition and the inherent unease with developments in photography as an artistic medium In particular Fraser explained the difficulties of finding other contemporary photographers and the struggle to visit pioneering exhibitions during his early career in the UK Consequently

    Original URL path: http://www.corridor8.co.uk/online/review-peter-fraser-a-city-in-the-mind-open-eye-gallery-liverpool/ (2016-02-15)
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  • Review: DEEP HEDONIA & A SMALL CINEMA present BROADCAST, Liverpool Small Cinema | Corridor8 —
    cinema seat bound fetishisation of warfare as channeled through popular gaming franchises such as Call of Duty Other works seemed to appeal to the audience directly in Sarah Hill s Dream Machine the inner workings of a grand abstract machine drone on while a voice on the accompanying soundtrack whispers insidiously who are you working for What are we as onlookers producing if anything and why Despite the emphasis on video work BROADCAST featured two exclusive live music performances Rosen presented a kind of contemporary inversion of Debussy s La cathédrale engloutie in a performance that seemed to envelop and submerge audience artist and cinema room With pepperings of drum and bass breaks deep house textures and field recordings swimming in and out of focus the work and Rosen s unassuming presence on stage encouraged quick scans around the cinema space at the walls audience and back at the artist to see how everything was holding up under pressure JC presiding monk like over a small analogue audio workstation produced sonic impressions of surface textures tensions and a spatial surround transcending the cinema with interim silences suggesting a code or process of creative evaluation While there was no video imagery produced in real time or otherwise to accompany Rosen or JC theirs were perhaps the most obvious and successful misuses of the cinema space The music was relied upon to intimate the visual in its absence although this did conflict with Deep Hedonia s stated intention of shifting the focus back to the video components of audiovisual collaborations There was some talk from audience members of closing one s eyes throughout as being the most authentic way to experience the musicians performances Deep Hedonia themselves in a recent interview also talk about wanting to sit down and appreciate what the

    Original URL path: http://www.corridor8.co.uk/online/review-deep-hedonia-a-small-cinema-present-broadcast-liverpool-small-cinema/ (2016-02-15)
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  • Review: Build Your Own: Tools for Sharing, FACT, Liverpool | Corridor8 —
    its audience and particularly to the residents of Liverpool Build Your Own is an exhibition of four new commissions that explore the connections between craft technology and community It is what was described by curators Lauren Parker and Clare Cumberlidge on the opening night as a live and ongoing conversation In the space the exhibition begins with the interactive display of Rachel Rayne s Neurotic Machines 2015 The interactive elements of this display are closely aligned to that which you might find in an aging museum trying to reach out to the kids but it works and perhaps owes much to the exhibition design of Simon and Tom Bloor The intention of this work to bring gardening and urban farming into the post internet age through collaboration with The Raspberry Pi Foundation is relevant and exemplifies the ethos that the Craft Council is conveying by co producing Build Your Own collective production and skill sharing Linda Brothwell presents Acts of Care 2013 ongoing a project which focuses here on The Lost Letters of Liverpool Brothwell has sympathetically revived iconic building signs in the Dingle area of Liverpool by replacing and restoring missing letters through a combination of traditional English and Polish techniques and designs Her display here combines crisp documentation of the project along with the beautifully crafted tools that she uses in the process and thoughts on how to produce your own tools The exhibition flows almost seamlessly into Desktop Prosthetics 2015 The process of production and the tools needed for the job is given deeper insight by this project from DoESLiverpool through examples of the practical uses 3D printing has to offer It is a box ticker in terms of working with local practitioners and providing for the less able but the project sings and is a real

    Original URL path: http://www.corridor8.co.uk/online/review-build-your-own-tools-for-sharing-fact-liverpool/ (2016-02-15)
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  • Review: Liverpool Arab Arts Festival: Shaping Change: Women, Art and Culture symposium, Bluecoat, Liverpool | Corridor8 —
    views of her father had influenced her as a writer This is the first event for the Liverpool Arab Arts Festival that discusses Arabic women s rights issues and the challenges they face as women within society and their community The main challenge is the silence that surrounds them as they are denied a voice in which to share their experience either through fear or lack of knowledge of the English language The festival allows women a voice through both the art and debate and it was the artists own personal stories which made the symposium so groundbreaking and thought provoking Poet Ameena Atiqt and musician Nadya Shanab both demonstrated how the arts have brought a voice to the Arabic women s community Ameena is a visual poet whose poetry is not about barriers but empowerment and she gives a voice to women who don t have the opportunity to speak Nadya also does this through music In her piece I am a little Egyptian girl she discusses the wide practice of female genital mutilation in her native Egypt and the effects this has on women She sings in Arabic to make her community aware of the practice but the message of the song still reaches a wider audience through its power and emotion Both artists make the invisible visible through their work and the final speaker artist Rachel Gadsden aims to do this not only for women but also for people with disabilities She makes a point of incorporating both mainstream and disability art sectors together as she believes it s important to have the subject in the public domain in order to break boundaries and reflect on what it is to be human The main message in Shaping Change Women Art and Culture was that it is everyone

    Original URL path: http://www.corridor8.co.uk/online/review-liverpool-arab-arts-festival-shaping-change-women-art-and-culture-symposium-bluecoat-liverpool/ (2016-02-15)
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  • Review: LOOK/15, Liverpool | Corridor8 —
    Women s Photography Festival due at Tate Modern in October If on LOOK s part the aim was to underline the social value of art this was at the expense of the work and the artists involved But by and large this experience was not an accurate representation of the festival to come There were some surprising rather better implemented projects designed to promote new talent the exhibition space in WarpLiverpool for example where photography foundation students shared a platform on equal terms with Jona Frank and her portraits of juvenile boxers The Modern Kids Another highlight was Open Eye Gallery s OPEN 1 the first in a bold new series of annual exhibitions aimed at showcasing the best work submitted to the gallery by open invitation The show coins the concept of social portraiture i e photography featuring individual subjects that reflect local cultures and global attitudes In a launch mirroring the Tate on LightNight Open Eye hosted DJs the Faux Queens dressed fantastically in futuristic tropical themed outfits though visitors anticipating a serious direct engagement with photography on their part would have been disappointed relieved A bit of everything for everyone is the mantra of LightNight perhaps but should LOOK adopt that approach by association Attempts to thematise and sub thematise the festival resulted in a bit of a muddle but did represent a conscious decision to take positive action to protect the interests of the disenfranchised and overlooked As an organisation LOOK s drive toward inclusivity is impressive but in trying to please everyone the festival doesn t seem sure of its footing Intellectual and artistic focus is wanting or not wanted though an eclectic approach has resulted in a lively sprawl of a programme one that has benefitted students emergent artists and creative community projects in

    Original URL path: http://www.corridor8.co.uk/online/review-look15-liverpool/ (2016-02-15)
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  • Review: Leonora Carrington, Tate Liverpool | Corridor8 —
    addition to designing for theatre and film The meticulous detail and uncanny elongated looming hybrids within her work allows one to delve into a world of abandoned imagination and step away from the humdrum of the everyday by exploring the potential of imagination within the rhythmic imageries Equally of importance within the exhibition is Carrington s writing that has been attentively incorporated through the display of selected quotes presented amongst the ethereal images encouraging a whimsical journey through her frequently bewildering ideas The indeterminacy and abandonment of reality within the works exemplifies Carrington s radical thinking Her most familiar work The Giantess The Guardian of the Egg depicts an incandescent egg like goddess presiding over land and sea Carrington herself stated The egg is the macrocosm and the microcosm the dividing line between the Big and the Small which makes it impossible to see the whole To possess a telescope without its other essential half the microscope seems to me a symbol of the darkest incomprehension The task of the right eye is to peer into the telescope while the left eye peers into the microscope The vibrancy and range of work displayed reflects her long and eventful life drawing upon aspects of her experience with Celtic mythology alchemy Mayan traditions Buddhism and Tibetan philosophy This extraordinary woman lived through decades of disorder and unrest exceling and challenging a patriarchal world and yet her modest plea to remain somewhat discreet living in working in Mexico and her refusal to be constrained by conventional precincts has been a motivating impetus for many contemporary artists Her patron Edward James said of Carrington in 1975 she has never relinquished her love of experimentation the result being that she has been able to diversify and explore a hundred or more techniques for the expression

    Original URL path: http://www.corridor8.co.uk/online/review-leonora-carrington-tate-liverpool/ (2016-02-15)
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  • Review: Reality Part 2, Crown Building Studios, Liverpool | Corridor8 —
    exhibition in Liverpool by far and 5 stars all round Following on in a similar vein the next piece of work is a displayed iPhone with a tweet saying how brilliant the show was These works emulate the bravado of private views where in essence the point is to been seen there to be able to tweet or instagram about the show as proof that you have attended this exclusive one off event Additionally it mocks how we look to online and social media for verification of what is good and by displaying these creations of their own design Dan and Greg have managed to generate their own narrative Building on this superficiality of the private view and following the room round we see their perception of archetypical PV attire titled PV Garmz a white shelf displaying a folded checked shirt and a pair of dessert boots On the opening night goody bags were given out PV essentials 2015 now a plinth in the centre of the room presents the contents for those not fortunate enough to be there on the night The polythene sandwich bag contains lipstick perfume and a lint roller amongst other trinkets the attendees being subtly satirized for their presence on the night A specially designed cocktail Vodka Verisimilitude 2015 is served a concoction formulated between Dan and Liverpool s Berry and Rye bar It s sickly sweet with a bitter aftertaste leading to a tongue in cheek assessment of the event that is taking place The other pieces in the show work as visual documentation of the first unseen exhibition The first is a slick promo style video by Rob Battersby Reality Promo 2015 with well edited shots and soft focus taking control of the narrative Juxtaposed against this on a monitor on the floor

    Original URL path: http://www.corridor8.co.uk/online/review-reality-part-2-crown-building-studios-liverpool/ (2016-02-15)
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web-archive-uk.com, 2016-10-28