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  • Georgina Wright | Corridor8 — | Page 3
    Royal Standard Liverpool Review Gazelle Twin Carla Mackinnon various short films FACT Liverpool Interview Rosie Cooper Review Listening The Bluecoat Liverpool Review Candice Jacobs EXHALE Cactus Gallery Liverpool Newer events Contact Corridor8 97 Vantage Quay 5 Brewer Street Manchester M1

    Original URL path: http://www.corridor8.co.uk/author/gwcorridor8-co-uk/page/3/ (2016-02-15)
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  • Review: Down in the Dumps, Cactus, Liverpool | Corridor8 —
    that applied to scratchcards Arriving for install with silver façade completely intact it was left to Cactus curator Joe Orr to remove the semi gelatinous film obscuring the images beneath with no recourse from the artist as to when to stop the process of erasure Through the act of removal and by extension the activation of the work by an external agent the images underneath were allowed in part to appear at the surface through the mire of silver Revealing glimpses of a series of bubbles set against a bubble gum pink background the repeatedly typed words try again and the photograph of a drunken and sleeping naked party goer who had a full tuxedo drawn on him in marker pen that has become popular on the internet the works all ostensibly draw on and reinforce the exhibition title in varying capacities through their acceptance and rejection of the state of being Described as an exhibition of semi autobiographical works by the artist there is never any clear demarcation between humour and seriousness leaving the audience to explore the ambiguity and decide for themselves if this is a serious or sardonic insight Somewhat hidden on the wall directly opposite the printed works and only fully apparent once the visitor turns to leave is The Official Squad Medal Collection 2015 Collector s edition 1 24 The work comprises a series of coins made by the artist from the melting down and casting of drinks cans Repeating a process Bowen performed when he was a child with his grandfather the individual coins acting as reified collector s objects could then be traded and collected with friends Outside the obvious sarcastic critique of the collector culture that the artist has grown up in the work gives little away save for the one liner

    Original URL path: http://www.corridor8.co.uk/online/review-down-in-the-dumps-cactus-liverpool/ (2016-02-15)
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  • Interview: Grand Union x Supercollider | Corridor8 —
    ethos of the organisation This is part of the reason for showing this year to see how if we fit I have made a number of decisions about the presentation which satisfies the organisation rather than the fair I have taken the offer of a project booth very literally and I am treating the fair as an off site project GU Question 3 Do you have future plans to work in this sort of context again with a representation of artists SC It depends on the fair and also having the the right artist s There is a reality about the fair which is difficult to ignore money I have some questions for GU GU has studios attached occupied by artists living and working in the city how does this play into the programming decisions in the gallery GU Grand Union was initiated in 2009 by a group of artists and curators in Birmingham who wanted to create an environment where production of new work was possible whether that be through studio provision at a time when high quality working space was desperately needed in the city or through the gallery programme to commission new work from artists working outside of the city Also it was initiated to create a space where dialogue can take place through conversations about work and new ideas to shape a community of sorts The first show we had in March 2010 Gongoozler was programmed by the studio artists and since then they have always fed into the gallery programme in more informal ways The relationship that the gallery space has with the studio artists is a unique one with a dialogue that is reciprocal and fluid Also beyond the studios in the building we have many other organisations that feed into Grand Union and have a vital role to play who are situated literally next door to us An Endless Supply graphic designers Plane Materials fabricators This environment breeds knowledge production and exchange and creates a hub for ideas to flourish in an organic way Uniquely we have an Associate Curator programme at Grand Union giving a platform for emerging curatorial talent to put together exhibitions and events with the support of the Director a budget and a network The studio artists can of course feed into this programming but for us this is another way of making production possible in a more immaterial way SC How important are events like TMC to GU and by extension the artist community you represent in the Midlands GU This is our second year participating in Manchester Contemporary and at the moment we are developing new ways of working to platform Birmingham based practitioners and the artists who we work with in our public programme this being our way of testing out more commercial routes to do that We are not experts and our role in the city is not to be representative at every commercial art fair in the UK but rather we see this as

    Original URL path: http://www.corridor8.co.uk/online/interview-grand-union-x-supercollider/ (2016-02-15)
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  • Review: Layla Curtis, Heatscapes, The Gallery at Tyneside Cinema. Newcastle upon Tyne | Corridor8 —
    white silent films The cinematography ranges from tight shots of runners legs splashing through puddles to distant shots of runners moving along the course The thermal imaging works so that the individual features of the runners are lost as they blend into a white mass of moving shape also visible as a result are the heat traces that the runners leave on the architecture and environment as they pass through The choices Curtis has made for this piece are brave considering that it has been commissioned specifically for the Great North Run without knowing that the footage was filmed at last year s event there is nothing in the work that ties it directly to this This lack of specificity does have the advantage of avoiding becoming overtly sentimental sitting in stark opposition to the familiar aesthetics of charity marathons In this sense it is an interesting and meditative response to the event However by avoiding the familiar imagery of the Great North Run the work does miss an opportunity to engage with a rich vein of cultural associations that come hand in hand with events such as this Considering that the work is being shown in a space local to the run and that aims to provide artist made films for a regional audience it is a shame that it does not engage more with the context in which it has been filmed Heatscapes does use some arresting imagery in particular the film on the small monitor which shows the lower halves of runners legs as they warm up on the spot This section of film has an abstract hypnotic and weirdly surreal quality to it and is reflective of the overall atmosphere of the piece The work creates an immersive experience in a difficult space without having to

    Original URL path: http://www.corridor8.co.uk/online/review-layla-curtis-heatscapes-the-gallery-at-tyneside-cinema-newcastle-upon-tyne/ (2016-02-15)
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  • Spotlight: Tuvalu Pavillion, La Biennale di Venezia | Corridor8 —
    seeing a speech by Ian Fry the nation s chief climate change negotiator at the failed UN climate negotiations in Copenhagen in 2009 Taiwan itself excluded from UN negotiations because of the One China policy is the only country to have an embassy in Tuvalu and Huang was able to arrange a visit in 2010 Because the sea level is rising all the land is salty so the local coconut trees fall down This had a great impact on me Huang has represented Tuvalu not only at the Biennale in 2013 and 2015 but also at the UN s COP18 climate change negotiations in Doha in 2012 where he organised a press conference of animal delegates and COP19 in Warsaw in 2013 where he did a performance about greenwashing the practice of high carbon corporations claiming green credentials by for example sponsoring UN climate change negotiations He will represent Tuvalu again in Paris this winter at COP21 the negotiations which are widely seen as the last chance to negotiate a meaningful post Kyoto agreement on lowering global carbon emission and which are sponsored by among others Renault EDF and Air France Huang notes that Tuvalu is being seen as what Klein calls a sacrifice zone pointing out that the country s carbon emissions are very low due to their non industrialised way of life but that they are set to pay a heavy price for industrialisation in other parts of the world The Earth is the mother system and the human economic system is a subsystem The mother system is resource limited but the subsystem is always consuming everything Modern civilisation is like the aurora it looks beautiful but also like an illusion and it represents such a short time in the history of the Earth Is our modern civilisation really bringing us a better tomorrow or are we together going to unknown disaster says Huang In its doomed attempt to compete with the strong sunlight coming through the side of the pavilion the aurora also echoes the futility of attempts to respond to climate change only with technofixes natural light is always more powerful than artificial light I ask him a question close to my heart about whether he thinks that the purpose of art is primarily to have a positive effect on the world I think I just am still artist I focus on art I would like to make it more powerful art is not only for exhibition art can contribute nowadays we facing a lot of crisis not only climate change I m starting to think the most important thing is what I can do for Tuvalu He sees the pavilion not as an end in itself but as an act of transnational solidarity and catalyst for further action with plans for a crowdfunded social sculpture project to stabilise Tuvalu s coastline by planting mangrove trees The pavilion is also built using only local materials which will be recycled or reused at the end of the

    Original URL path: http://www.corridor8.co.uk/online/spotlight-tuvalu-pavillion-la-biennale-di-venezia/ (2016-02-15)
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  • Review: A Green and Pleasant Land? Rural Life in Art, Harris Museum and Gallery, Preston | Corridor8 —
    exhibition is split into three thematic strands that address different elements of the rural However this didactic framework arguably vital for such a complex subject doesn t complement the large amount of work on display A smaller more tightly edited exhibition would have been welcome Despite this the exhibition shines when it instigates new discourses between artworks Sir Hamo Thronycroft s bronze figurative sculpture The Mower 1881 strikes a dialogue with Rebecca Chesney s museological installation Death by Denim 2015 A radical sculpture in its day The Mower unglamorously depicted arguably for the first time a working class worker in his field clothes Chesney presents ephemera from Scoglio and Son a doomed Bolton company who developed a line of outdoor denim wear called Summat in the 1970s An accompanying enlarged newspaper headline from 1973 dramatically informs us that the owner s son died walking in poor weather his inappropriate attire contributed to his tragic fate Linked by fabric both works challenge constructed notions of the rural idyll by exposing the realities of the capitalist landscape whether as a place of toil or the rise of the leisure industry Georgina Barney s vivacious pencil drawings of farm animals are juxtaposed with Woodhouse s technically excellent works The result is a playful exchange between two artists who explore the relationship between art making and farming albeit in different eras and styles Their shared artistic methodology suggests that art in a time where the impact of the falling price of agricultural produce on the global market has driven many farmers out of business can add value to the industry The temporal nature of architecture in the landscape is poetically addressed in the last gallery Several large pencil drawings from Andy Goldsworthy s Sheepfolds 1996 2003 project where Goldsworthy repaired or rebuilt circular stone

    Original URL path: http://www.corridor8.co.uk/online/review-a-green-and-pleasant-land-rural-life-in-art-harris-museum-and-gallery-preston/ (2016-02-15)
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  • Interview: Kwong Lee, Castlefield Gallery, Manchester | Corridor8 —
    work with emerging artists right up to mid career artists and therefore we support artists over a number of years as they develop A good example of this is one of our artists Hilary Jack who we have worked with for fifteen years and as well as exhibiting her we also brokered her relationship with the Tatton Park Biennial By training artists and seeing artists studios we look at the best timing to intercept an artist s career What we are trying to do is distinguish ourselves from others that work with a smaller group of artists and bigger institutions that don t often support emerging artists Our Head to Head exhibitions demonstrate this as we put together an emerging artist with an established artist in the same show such as our exhibition Head to Head Hayley Newman and Emily Speed 1 March 7 April 2013 This created a long lasting relationship between the artists that unlike the exhibition which is time limited is long lasting and both artists gain from exhibiting together It also creates credibility relationships and press coverage which is increasingly important for artists CW You have created a CG Associates scheme which supports artist development how did this come in to fruition and in what way does it develop artists KL CG Associates developed over two years ago we previously gave advice to artists informally and had one off events that dealt with different aspects of artist development such as fundraising self promotion and self publishing These were stand alone events so we put these artist development activities together under one umbrella and called it CG Associates This is an annual membership scheme which we want contemporary artists to join in addition to independent writers and curators as we wanted to look at the art scene holistically We have 160 members who have mentor sessions and set access to monthly events which could be peer to peer critique experts coming to discuss relevant subjects or practice There are two big areas that need addressing in artist development the what and the how and the why which is the more critically engaged area such as theory contemporary dialogue and social engaged issues CG Associates can also apply for Launch Pads which is a platform opportunity that are 2 3 times a year where CG associates can submit a proposal for a show They are short so they can also be an event or publication and are quite responsive and the associates so far have responded by proposing solo and group shows The proposer has to be a CG Associate but others involved don t have to be this is good as it s not a closed group as it can expand away from the contained network of associates to their peers involving a wider variety of artists Members also have a wide geological range that extends further than Manchester itself with artists coming from Merseyside Cheshire West Yorkshire and Blackpool CW Why do you think CG Associates

    Original URL path: http://www.corridor8.co.uk/online/interview-kwong-lee-castlefield-gallery-manchester/ (2016-02-15)
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  • Online | Corridor8 — | Page 5
    for Contemporary Art Gateshead Review Exquisite Corpse Fuse Art Space Bradford Review Ida Ekblad BALTIC Centre for Contemporary Art Gateshead Interview Caustic Coastal x Corridor8 Part 2 Interview Caustic Coastal x Corridor8 Part 1 Review Micro Micro Revolution CFCCA Manchester Review RESOURCE Bluecoat Liverpool Review Lucy Beech Me and Mine The Tetley Leeds Review Platform Holden Gallery Manchester Interview Jo McGonigal Deb Covell Real Painting Castlefield Gallery Manchester Review Medieval

    Original URL path: http://www.corridor8.co.uk/online/page/5/ (2016-02-15)
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web-archive-uk.com, 2016-12-05