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  • Review: by and by, Set The Controls For The Heart Of The Sun, Leeds | Corridor8 —
    the exhibition could easily be read as the cohesive practice of one artist and it is in this ambiguity that the show revels sharing authorship and forming new narratives and avenues for discourse The subtlety and nuance of the pair s relationship is noticeably transferred to the artworks they both produce Inside the gallery itself the exhibition takes a step away from the visual busyness of the recent shows that preceded it and instead exudes a sense of meditative calm Occupying every wall save for the wire rug of Warped and Left 2015 which casts a solitary yet embracing figure on the floor in the middle of the gallery the works comfortably fill the space without ever overcrowding it This subtlety acts as a reflection of the artists themselves with the works slowly seeping into collective consciousness without any overarching cause to do so becoming a part of the environment to be decoded at a later juncture They become almost an afterthought to the visitor s experience within the space darting in and out of perception on the periphery of vision until a fleck of pastel or wood grain catches the eye and draws the viewer back into the display Although at a distance the works appear unobtrusive and potentially unengaging upon closer inspection they fixate and intrigue The quality of craftsmanship in each piece is evident none more so than in Sun Pots 2015 and Introverts 2015 Placed on a plinth running half the length of the back wall of the space the handmade stoneware pots coloured with iron rich cyanotype solution and hand lathed introverted pieces of wood belie the complexity of their creation and reinforce the everyday almost domestic feel the works as a whole convey Through their conscious display for the first time the pieces allow

    Original URL path: http://www.corridor8.co.uk/online/review-by-and-by-set-the-controls-for-the-heart-of-the-sun-leeds/ (2016-02-15)
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  • Review: Cornelia Parker, The Whitworth, Manchester | Corridor8 —
    experience of politics War Room flickers back and forth between the visible absence and the invisible presence between disguised power structures and the useless material waste of Western ideology Yet paradoxically Parker is also concerned with engaging in industrial methods of production in her own work For her firework display on the Whitworth s opening night Parker used graphene developed from her work with scientists from the University of Manchester notably Nobel prize winning physicist Sir Konstantin Novoselov which used traces of the sketches of Blake Turner Constable and Picasso as well as a pencil written letter by Sir Ernest Rutherford who split the atom in Manchester In a fusing of artistic and scientific creation the display brought with it uncertain horizons Like her rattlesnake venom and ink prints Parker provides both the poison and antidote in this case to the dangers of the incessant technological renewal in a post industrial world While graphene provides hope for greener energy sources it could also lead to an abuse of power being the strongest material known to man the possibilities both good and bad are potentially endless Never one to intellectually pander these works don t offer any easy answers Yet in a tradition of conceptualism they rely upon references and puns Veering on a serious social critique her insistence on aesthetic symbolism reduces such a critique to a visual pun It seems that when Parker comes close to a more defined critique her unfaltering return to materials mute her own voice In The Distance The Kiss With String Attached 2003 Parker takes Rodin s original sculpture The Kiss and binds it with a mile of mass produced household string The stone lovers are shielded from view by more references such as to Duchamp s Sixteen Miles of String 1942 Manchester s

    Original URL path: http://www.corridor8.co.uk/online/review-cornelia-parker-the-whitworth-manchester/ (2016-02-15)
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  • Featured | Corridor8 — | Page 4
    St Bride s Gallery Liverpool North West Writers Meet Greet Review Show Me The Money The Image of Finance 1700 To The Present NGCA Sunderland Review Doug Bowen Stuff Bloc Projects Sheffield Newer events Contact Corridor8 97 Vantage Quay 5

    Original URL path: http://www.corridor8.co.uk/category/online/featured/page/4/ (2016-02-15)
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  • Review: Listening, Site Gallery and Sheffield Institute of Arts Gallery, Sheffield | Corridor8 —
    Its magic electronics both 2014 utilise spotlights to highlight the interchange between anthropomorphised objects as protagonists of an absurdist Beckett like play Choreography is not limited to the artworks but also encompasses the audience as the exhibition invites non visual forms of participation and particularised forms of movement In Amalia Pica s Evesdropping 2013 the placement of glasses along the gallery wall prompts the audience to move in closer to attempt to hear beyond the wall whilst Prem Sahib s Taking Turns 2013 invites a search for the source of the distant sound only to reveal that the nightclub is actually inaccessible Carey Young s Follow the Protest 2009 and Laurie Anderson s The Handphone Table 1978 require the physical presence of the audience to activate and complete the work for Young the participant must pick up the telephone and listen in whilst it is only through placing their elbows on the table that the gallery visitor is able to hear Anderson s hidden electronics Several works suggest synesthesia in their mixing of the senses in The Handphone Table hearing is activated through touch as the participant places their elbow on the table whilst the specially constructed screens of Imogen Stidworthy s Sacha 2011 made from transparent acoustic material cause sound to emanate directly from the screen itself Such sensory blurring encourages a focus on the perceptual experience of listening directly referenced in Haroon Mirza s A Million cm² of Quiet Space ii 2003 14 which recollecting John Cage invites entry into an anechoic chamber of complete silence where only sounds of the internal body are to be heard The exhibition also references the social historical and even mythical precedents of listening as both Mirza s Siren 2012 and Ragnar Kjartansson s Song 2011 cite the infamous Sirens of Greek

    Original URL path: http://www.corridor8.co.uk/online/review-listening-site-gallery-and-sheffield-institute-of-arts-gallery-sheffield/ (2016-02-15)
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  • Review: Blind Gallery – Graeme Durant, Bloc Projects, Sheffield | Corridor8 —
    as intentional For example the gallery s location within a community of resident artists working in a myriad of studios affords the exhibition humorous and spontaneous overtones that exhibiting artists must choose to either embrace or ignore Both Blind Gallery and Durant have chosen to embrace and incorporate these elements into the show Lovely Bunch of Coconuts Dogma1 and Trifle are placed on window sills and Found Slides is attached to the windows themselves The residents and their windows dominate at Bloc Projects and it is important that the viewer can experience these elements too These works also offer the viewer a moment to reflect on their setting and to consider that other galleries artists or institutions might ignore and cover these architectural details Found Slides is constructed of two slides Durant found outside Newcastle University and another discovered in his studio Although Durant records it as an unsuccessful piece the work is crucial to the success of the show Here Durant appears to wrestle with the relationships between object environment viewer and artist and the work acts as a subtle and concise tonic to the larger than life sculptural works set alongside it Stinking Bishop Smile and Sculpture for a Modern Diet are large both in scale and presence They are exaggerated forms with brightly coloured scented wax poured over their surfaces They nod to diverse interests like Barbara Hepworth s sculptures food and the tale of the three blind mice Their bombastic and exaggerated appearances offset the delicate nature of Found Slides and act as visual metaphors for the show s diverse and divided visual and curatorial personalities The divide is intended not based on individual practices and uses contrasts within the gallery as primary cues for its origins This exhibition encourages immersion sensorial confrontation and contemplation For

    Original URL path: http://www.corridor8.co.uk/online/review-blind-gallery-graeme-durant-bloc-projects-sheffield/ (2016-02-15)
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  • Review: High Line, South Square Gallery, Thornton | Corridor8 —
    results in the two taking separate paths and at times losing each other entirely This is easily done as those who have walked the Way will know the correct path is not always clearly marked and runs an impressive 268 miles across some rough and obfuscating terrain Other artists experiment with making as a metaphor for walking Alison Carthy s three tapestries each reflect a particular landscape the weaving process a slow plodding meditation on location and movement Suspended from the gallery s rafters Jennie Crawford s serpentine strip of Japanese Washi paper is imprinted with transfers and collaged elements including boot prints peat and snow melt washes and photopolymer scenes of places encountered along the route These are directly related to the artists experience of walking the Pennine Trail and developing relationships to its diverse landscapes I couldn t help but think that more delicate pieces would have fared better as wall mounts their mobile hanging seemingly redundant Likewise the single installation work by Emma Hardaker and Anna Malcolm appears flimsy and unsubstantial in a corner of the second gallery A standout contribution is Rhianna Mayhews s lightbox photograph Jacob s Ladder which captures the moody brilliance of the Pennines on a characteristically overcast day the rich shades of its grass and heather contrasting with the grey tones of a foreboding sky The winding path towards a cresting hill evokes both the singularity of a walker s journey and the universal appeal of a natural geography that has attracted walkers for centuries Indeed it was a mass trespass by workmen into the forbidden uplands and the tireless campaigning of trekker Tom Stephenson that led to the opening of the National Trail in 1965 Mayhew s horizontally cropped image glows with an eerie presence an historically cultivated kind of wilderness

    Original URL path: http://www.corridor8.co.uk/online/review-high-line-south-square-gallery-thornton/ (2016-02-15)
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  • Review: Spit Me Out Said My Ashes To Their Urn, GRRG, Kennington | Corridor8 —
    which viewers are unable to locate their hidden image Strong s mischievous title lets the viewer know they are already set up for a loss the two images melt into nothing no matter how long you stare Nihilism and hope run through the exhibition in satisfying equal measures Strong asserts these conflicting attitudes with titles such as Don t Worry 2015 and First Day of My New Job Managing the Snake Pit 2015 The former adopts a care free humorous attitude whilst the latter brims with anxiety highlighting the complexities and disenchantments brought about by every day experience Growing up near Pembrokeshire Strong has acquired a broad knowledge of paganism and regularly mines Celtic Folklore ritual and imagery to inform his practice A film eponymously titled Spit Me Out Said My Ashes to Their Urn 2015 shows a lonesome figure with small spiteful features peering out at the viewer through a white hooded mask Dressed in a thick grey cocoon and matching headpiece fabricated from packing blankets a low cost material used to protect artworks during installations and frequently employed by Strong the figure is announced by an eerie blast of a subaqueous sound and slowly materialises into a smoke filled void Visible from the chest up this mute portrait wobbles and twitches gesturing its head as if deep in eerie inaudible conversation Turning to leave the exhibition the viewer s eye is drawn up to three fearsome faces standing guard atop the garage door Stitched in colourful felt these works are a strange hybrid of balaclava Luchador mask and executioners hood equipped with contrasting expressions and stuffed pointed beaks Lugubrious P 2015 is a green mask with an elasticated neck a hole for a mouth and white eyes which stream with tears This work will seem familiar to those

    Original URL path: http://www.corridor8.co.uk/online/review-spit-me-out-said-my-ashes-to-their-urn-grrg-kennington/ (2016-02-15)
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  • Review: Wu Chi-Tsung, Dust – Site Gallery, Sheffield | Corridor8 —
    makes a fleeting appearance and dissolves back into thin air These luminous moments are conjured by a carefully positioned high definition camera that films down a projector s beam The dust particles that move between these points in the focussed light are projected onto a gallery wall and in the darkened space it becomes an interactive display The air stirs as visitors walk around the installation and their movement affects the way in which the dust scatters and glides in the projection giving the artwork an energetic and immersive quality A second installation Crystal City 003 is an assemblage of transparent plastic boxes and packaging arranged on the floor as a miniature cityscape However this static scene is given a much more exciting and dynamic presence A tracking light moves on a rail through the boxes and casts their sprawling shadows across the gallery walls giving a realistic illusion of movement in the foreground and distance as though commuting through an imaginary urban space Engaged in a playful practice Wu Chi Tsung himself perhaps becomes enmeshed into his own work displaying an ability to create something remarkable from the residue of human activity weaving between the mysterious polarities of presence and absence the extraordinary and the commonplace Perhaps it s with some sort of techno shamanic power that by a relatively simple creative act he is able to transform ordinary profane matter into something that transcends language and logic Using technology to make the invisible visible a simple magic that reveals secrets that might otherwise go unnoticed Both Installations allow very ordinary materials to make extraordinary transformations and to the visitor this is felt rather than learned These simple installations that feel quite child like and spontaneous have an ability to affect us in a very profound or delightful way

    Original URL path: http://www.corridor8.co.uk/online/review-wu-chi-tsung-dust-site-gallery-sheffield/ (2016-02-15)
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web-archive-uk.com, 2017-12-17