Web directory, archive
Search web-archive-uk.com:

Find domain in archive system:
web-archive-uk.com » UK » C » CORRIDOR8.CO.UK

Total: 559

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • Ali Gunn | Corridor8 — | Page 3
    Art Gallery letting the outside in Interview Shiri Shalmy Part One Interview Jamie Shovlin Review Akio Suzuki AV Festival Globe Gallery Newcastle Review Tipping Point CFCCA Manchester Review Hy Brasil Opera North Howard Assembly Room Leeds Review The Walking Encyclopaedia AirSpace Gallery Stoke on Trent Review The Narrators Walker Art Gallery Liverpool Interview Helen Benigson Newer events Older events Contact Corridor8 97 Vantage Quay 5 Brewer Street Manchester M1 2ER

    Original URL path: http://www.corridor8.co.uk/author/alison-gunn/page/3/ (2016-02-15)
    Open archived version from archive

  • Janet Cardiff: The Forty Part Motet, BALTIC | Corridor8 —
    enter the congregation and experience the work from an interior perspective wholly enveloped in sound The 360 surround sound of the piece coupled with its roughly twenty minutes length makes it a mesmeric engrossing experience The voices of the choir delicate resonant taught powerful seem to call across the space from one position to another in an ungraspable pattern Often the voices sing together in a rising spiralling crescendo of sound suggesting a host of invisible presences and creating a high curtain of immaterial noise The immediacy of The Forty Part Motet tends to bypass intellectual decoding its visceral and immersive nature appealing more to a kinaesthetic experiential understanding of the work Performed in Latin Spem in alium nunquam habui the composition by Thomas Tallis which the piece reworks defers the kind of particular communication that usually occurs through shared language instead vocalisation is used for its material rhythmic and musical properties rather than any finite meaning or for the information contained and communicated via specific words Though virtually ineffable The Forty Part Motet is simultaneously evocative of sculptural or architectural forms as the compass of speakers generate vaulting invisible walls of sound surround the audience With one s eyes closed this invisible ghost like architecture invites a gentle feeling of disembodiment as though that space is being channelled from another time and location the irreconcilable time of the past memory into this site on the third floor of the BALTIC However The Forty Part Motet is ultimately a work of infinite intra subjective experience as a viewer walks around the work this becomes more apparent as their audio experience also shifts from that of a general wave of sound to a piece comprising of forty individual voices After the taught silence of The Forty Part Motet s conclusion and

    Original URL path: http://www.corridor8.co.uk/online/janet-cardiff-the-forty-part-motet-baltic/ (2016-02-15)
    Open archived version from archive

  • Review: Doug Bowen – Stuff, Bloc Projects, Sheffield | Corridor8 —
    a silhouette of the gallery s floor plan The title of this specific work being drilled holes 10mm and mixed media from making seems to be a pictorial reference to language itself with the font and titling representing a direct parallel with the visual nature of the work His use of language plays a heavy role in the show and is carried through to You Can t C Me a work consisting of a series of two way mirrors taking the form of a cube Another work of note is tumbleweeds 1 2 3 4 which are presented as a series of wooden discs in the shape of the iconic symbol of the tumbleweed The works themselves stand out in the gallery as they posses some of the only elements of colour in the show and by doing so they question their own existence as objects Tumbleweeds themselves are widely considered to be a signifier of emptiness and solitude however by producing them intentionally to then be presented within a gallery poses interesting questions The stand out work however has to be Rider 1 at Bloc Projects Sheffield on Friday 8 th August 2014 The work consists of a series of requests by the artist in order for him to complete the show similar to the way a rock band or pop act may request certain things for their dressing rooms pre performance Less ridiculous than a lot of pop divas requests Bowen asks for 1 double room 6 Samuel Smith s Ales and 1 large smiley face pizza amongst other things This work not only questions the authority of the artist and his her role when presenting an exhibition but it also examines the relationship between artist and curator Stuff provides definite questions and seems to be happy in

    Original URL path: http://www.corridor8.co.uk/online/review-doug-bowen-stuff-bloc-projects-sheffield/ (2016-02-15)
    Open archived version from archive

  • Review: Urban Psychosis, The Holden Gallery, Manchester | Corridor8 —
    strand Sophie Calle s project The Bronx 1980 paints an intimate portrait of city dwellers through a series of photographs and personal accounts by the artist The project chronicles a number of purposeful yet spontaneous encounters with strangers who escorted the artist to a place of their choosing within the city The resulting works are a manifestation of an individual s private connection to a place nostalgic moving and intensely personal in equal measure Other work on display trains its focus on the spectator in the city John Baldessari s Crowds With Shape of Reason Missing Example 1 6 2012 calls attention directly to the phenomenon of the crowd by completely erasing the object of attention Meanwhile Gillian Wearing s Dancing in Peckham 1994 invites the viewer to acknowledge and participate in the group response by putting the subject of their attention front and centre the artist herself dancing alone in silence in the middle of a busy shopping mall In Marc Camille Chaimowicz s Pendulum Polaroid 2000 the city is quite literally broken up in to pieces These pictures fragments of regular journeys made by the artist construct a city in constant flux a place defined by transition and change appearing to the viewer through snatches of experience Several works on display by Catherine Yass also serve to deconstruct the city Highlighting the stresses of the modern metropolis through physical aspects of its decay her work blurs the boundaries between the physical and psychological impact of the city Out of this urban flux a sense of personal decay and mental disturbance continues to emerge the recurring shadow of urban psychosis Work on display by Matthew Buckingham can be read as an expression of personal anguish of unhappiness with the status quo Unzufrieden 2005 is quite literally a banner of

    Original URL path: http://www.corridor8.co.uk/online/review-urban-psychosis-the-holden-gallery-manchester/ (2016-02-15)
    Open archived version from archive

  • Review: Liverpool Biennial – Claude Parent, Tate, Liverpool | Corridor8 —
    encompasses these slanted floors and ramps allowing the audience to meander around the construction and tentatively tread up and down the slopes experiencing the museum anew Parent has ultimately designed a particular viewing system as well as a collective living room for public use The notion that these curved mounds and sloped edges can be utilitarian as furniture in a living space examines the manner by which we view the domestic environment and ultimately the way we view the museum in relation Parent s work explores whether this unfurnished architecture alters social order and the dynamics between people The structure presents a collective utopia the indefinability makes it difficult to distinguish between what is a wall and what is a ceiling to differentiate what is up from what is down Through the dismissal of categories and hierarchical order systems Parent requires to discover a new freedom something that is distinctly evident within this work All visitors investigate the space equally intrigued some lounge on the curvatures others peer across the gallery from the raised platforms Within this substructure works from Tate collection are displayed complimenting Parent s enduring passion for challenging conformity These works selected by Parent and curator Mai Abu ElDahab emphasize his interest in exploiting geometry and include the artists Helen Saunders Edward Wandsworth Gillian Wise and particularly Naum Gabo whose work includes sculptures created with transparent materials suggesting the intangible and evolving nature of form What s more Parent s radical rethinking is assimilated with the work of Gustav Metzer and Francis Picabia whose contemporary ideas provoked scandal The prevailing theme of disorientation continues throughout and is evident in the work of Paul Nash whose angular destructive and indefinite images are viewed whilst tilted on the ascent to the raised platform within the structure Throughout his career

    Original URL path: http://www.corridor8.co.uk/online/review-liverpool-biennial-claude-parent-tate-liverpool/ (2016-02-15)
    Open archived version from archive

  • Review: Stephen Iles – Between Space, The Tetley, Leeds | Corridor8 —
    the walls creates a distinct and specific site for the exhibition to sit in amongst the clatter and noise of the building a new space allowing viewers time to reflect on the images Yet the red paper stripes that run vertically dividing the walls bring tension and create individual intersecting spaces within the one unifying area The concept of between space seems well adhered to however the exhibition feels constrained as if unable to fully ascertain its own dimensions and status Each image examines a space within a space these new secondary spaces created naturally through shifting elements and working practices taking place within the whole building The exhibition studies the idea of space through image and text armed with well chosen quotes displayed prominently alongside to bolster the large photographic studies A quote by William Tucker states how space is The void emptiness Between things above about and below things which seems to be a perfect explanation when studying the concept of space yet also a contradiction when looking at Iles work itself as the images portray a space which is often defined and detailed rather than a void In one image heavy duty containers are stacked empty with open lids to allow one to slot into another these gaping grey lids tessellate their closing pattern overlaying themselves complimenting the tessellating parquet of the floor underneath Another sees crossing and intersecting scaffolding create a new level and constricted space within the fuller space which holds it The exhibition also expands throughout the building with one image found in the dining room and another in the old boardroom the image in the boardroom really standing out with its three shrouded dust covered objects statue like upon wooden pallets wood against a wood floor white shrouds against a white wall This

    Original URL path: http://www.corridor8.co.uk/online/review-stephen-iles-between-space-the-tetley-leeds/ (2016-02-15)
    Open archived version from archive

  • Review: Chance Finds Us, Middlesbrough Institute of Modern Art, Middlesbrough | Corridor8 —
    of statistical diaries that document the way in which she inhabits the city their colour coded systems of reference recalling the visual language of maps while simultaneously functioning as abstract images in their own right The duality of these works operating both as referents that point to the activity of the artist as well as images in themselves contrasts with the hermetic system employed by Bray whose drawings Balance and Movement lack the impact necessary to hold the gaze of the viewer If Clewlow s works present an image of time Kennedy s kinetic drawing installation Timecaster renders it obsolete Nine bell jars each containing a blank clock with hands transformed into delicate armatures with a strip of white gold or silver hanging at their end skim the surface of the clock e v e r s o s l o w l y creating a myriad of patterns that subvert the notion of time as a unit of measurement by having no beginning and no end time is presented as a continuous present Richard Rigg s Song three leaves black wire and a diaphragm pump with its lack of formal similarities and evidence of the artist s hand perhaps least obviously fits in with the shows overall aesthetic A gallery attendant explains that in spite of the suction of the pump intended to hold the leaves in place they have fallen off twice This wonderfully demonstrates the precarious nature of the work as it teeters on the edge of failure who knows maybe the leaves are meant to fall off and be an absurd parody of leaves falling outside Nevertheless the fact that Song contains the potential for it s own unravelling perhaps makes it the most ambitious work in the show Peter J Evans participatory project The Cartographies of travelling without moving a collection of plane travel bags that travellers were encouraged to draw on in an automatic rather than conscious sense in order to create a visual record of the take off and landing echo the absurdity present in both Rigg s and Kennedy s work Earlier we saw the latter subvert the notion of time as a system of measurement here the subject is transformed into a passive instrument or recorder or are they If the participants really are instruments devoid of all subjective experience then surely all the drawings having been conceived under the same instructions would appear more or less the same The range of visual responses confirms Evans assertion that on the surface one journey resembles another but each movement is individual each cellular twitch unique and even in stillness we travel From a work steeped in context it seems ironic then that we are next met with an artist who appears to shun it altogether save for the title of his paintings Binary Rhythm IV and V Both of James Hugonin s images conform to similar principles of form and colour dispelling any notion of them as random clearly there is a

    Original URL path: http://www.corridor8.co.uk/online/review-chance-finds-us-middlesbrough-institute-of-modern-art-middlesbrough/ (2016-02-15)
    Open archived version from archive

  • Interview: Peter Seal | Corridor8 —
    t like the initial ground then I ll glaze or scumble another colour over it to see what happens Usually I feel like they can be developed and off I go The paintings are made slowly but they do need to have momentum I do abandon some altogether if they refuse to offer me any encouragement MC Much of your work seems to hinge on the interplay of colour and the wide subtleties of range made possible by your palette What role does colour have for you Do particular colours hold certain meanings or is each piece a unique expression PS Palette is the key word here not a colour card of translatable meanings but an interaction that if you want to use the word meaning generates meaning in each work The interplay of colours between layers of paint and in the juxtaposition of fields of colour generates specific resonances which could be described as the meaning of the paintings As a very simple example some of the pieces in my show consist of two or three small coloured panels Each panel would evoke quite a different meaning if it were shown on its own It s the same with the layers of colour within fields and the organisation of them within each canvas MC What for you is the draw of simplicity of form and expression PS The draw of simplicity of form and expression is paradoxically its endless complexity and limitless possibilities MC Though abstract and geometric in form your work has an organic quality What role does nature play in your creative process PS For me painting is a natural activity I m working with hand and eye using traditional media to create surfaces that are like most natural things nuanced and responsive to their environment the space in which they are shown the light and time of day Although the work can accurately be described as abstract and geometric it is my intention that it should breathe and sing MC Would it be fair to say that narrative influences your process from your personal stories of the Scottish Highlands to the song and poetry led titles of your work PS The collages on show in the gallery have a narrative quality I think though I m not setting out with a story and attempting to illustrate it Making this work is like discovering the logic of a story in the process of making it up shifting shapes until they feel right and in some way eloquent In looking at the completed collages people have often commented on a sense of narrative generated by the interplay of light and dark Viewers are bringing their own experience to bear and it may or may not be the same as my own though I imagine there are basic similarities in the way many people read relationships within and between abstract images The paintings are named because the process of making them and the finished canvases evoke in me something

    Original URL path: http://www.corridor8.co.uk/online/interview-peter-seal/ (2016-02-15)
    Open archived version from archive

web-archive-uk.com, 2016-10-27