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  • Lauren Velvick | Corridor8 — | Page 4
    blip blip blip Leeds Review Contemporary Art Society Damn braces Bless relaxes Middlesbrough Institute of Modern Art Middlesbrough Review Jemima Brown Untitled Profile Pictures PAPER Gallery Manchester Interview Black Dogs Review Artist Rooms Bruce Nauman The Harris Museum Art Gallery Preston Review Grace Schwindt Free Individual Free Society Pavilion Hyde Park Picture House Leeds Review Tanya Axford Paul Merrick Workplace Gallery Gateshead Review Science Fiction New Death FACT Liverpool Newer

    Original URL path: http://www.corridor8.co.uk/author/lauren-velvick/page/4/ (2016-02-15)
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  • Review: Helen Chadwick at Henry Moore Institute, Leeds | Corridor8 —
    potent sculptural concoctions In one work orchids sit afloat a pink sea of windolene framed by a membrane of lime marmalade In another a single plum placed within a pool of engine oil provides the nucleus to a garland of red and orange tulips The resulting photographs are not only wreath like but also strongly evoke cellular bodies resembling biological organisms in a state of gestation Photographing the compositions from above Chadwick generates a sense of looking down at these organic bodies as if through a microscope or within a Petri dish Penetrating through the flesh Chadwick confronts us with visions of bodily interiority Intensely colourful Chadwick s microcosmic creations burst with luminosity making them overwhelmingly alluring Yet the beauty of the photographs is imbued with the grotesque the sumptuous quality of the flowers offset by the inclusion of sickly substances Rather than placing focus on Chadwick s finished work the exhibition foregrounds Chadwick s creative process as the gallery space is dominated by five large format test prints from the Wreaths series Supplementing these works in progress is a rich display of related archive ephemera including notebooks sketchbooks magazine cuttings and letters Horizontally displayed on elegant trestle tables this wealth of material gives considerable insight into the working processes of Chadwick the careful and considered formation of each meticulous composition Whilst Chadwick s adoption of the funerary wreath motif points towards mortality the works simultaneous resemblance to cell like organisms suggests the generating of new life The cycle of birth and death growth and decay contained within these wreath like bodies attests to the transience and temporality of being a concept that Chadwick seemed eager to convey through this work If we look to Chadwick s notes we can find clues to the works conceptual genesis One example scrawled

    Original URL path: http://www.corridor8.co.uk/online/review-helen-chadwick-at-henry-moore-institute-leeds/ (2016-02-15)
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  • Interview: Victoria Udondian | Corridor8 —
    into account Manchester s history and the textile collection of the gallery Victoria Udondian Aso Ikele took the Whitworth s textile collection as its starting point and this collection took me through the link between Manchester and West Africa Against this back drop I was inspired to create a woven textile that would possibly be historically related to both Manchester and Nigeria SP For this work was the weaving technique important and why VU The weaving technique was important as Venice Lamb and Judy Holmes have attested in African Weaving Duckworth 1975 Nigeria has a tradition of weaving and dyeing of textiles which was of international importance long before the first European reached the shores of West Africa in the fifteenth century The techniques and patterns of Aso Ikele are undoubtedly drawn from this rich history but its sections imply a long period of making and remaking utilising sections of older fabric SP You have incorporated a piece of burlap which brings to mind the 1950s works of the Italian Alberto Burri who used burlaps on his canvases and the works of the Arte Povera artist Jannis Kounellis who also exhibits burlaps in the gallery space Have your work been inspired by these artists VU No I wasn t inspired by these artists sourcing discarded materials from the street and market place in Nigeria gave birth to this burlap which I found really interesting as the text inscribed on it was possibly linked to the history of Aso Ikele SP You hold a degree in painting and have worked on the medium Why are you interested in textiles Does your textile work share the same qualities as your paintings VU I am not sure where my interest really emanated from but have realised that the scope of meaning associated with

    Original URL path: http://www.corridor8.co.uk/online/interview-victoria-udondian/ (2016-02-15)
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  • Video: Derek Horton at The Bluecoat / Corridor8 3.3 launch | Corridor8 —
    July 2012 has now been posted on artplayer tv Derek speaks of the ethos behind his and Lisa Stansbie s international online literary and art magazine soanway org uk and its history He makes reference to the first print edition of soanyway issue 16 produced as a supplement especially for Corridor8 and containing the original work of ten quite varied soanyway writers and artists Derek finishes with a moving reading

    Original URL path: http://www.corridor8.co.uk/online/video-derek-horton-at-the-bluecoat-corridor8-no-3-3-launch/ (2016-02-15)
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  • Interview: Ahmed & Carpenter | Corridor8 —
    which was awarded a Micro Commision by the Cornerhouse and Paul Hamlyn to realise the project When Annie decided to move to Manchester we really started collaborating again since leaving art school and worked on a series of shows and exhibitions including our Office Party events which were also held at Rogue Studios These exhibitions started in our studio was also initiated for the same reasons to engage with artists at Rogue What was interesting about them was that they provided a space for experimentation where artists were not confined to their conventional practice Then during the beginning of this year the last committee of curators were coming to the end of their programme and the opportunity came up to run the project space and it just seemed like the natural progression for us AB What is the current show New Turn TA We launched our programme Ahmed Carpenter presents last week The inaugural show was a screening with a fictional organisation called New Turn conceptualised by the artist Thomas Yeomans The idea was that we would be blurring the lines of authorship between us as artist curators with the pseudo organisation and the artist who for most part of the process remained anonymous It sets the tone for the whole programme which is all about examining our authorial identity as both artists and curators AB What do you have planned for your programme at Rogue TA The programme will be quite diverse we plan to have mix of exhibitions residencies as well as smaller events such as screenings talks and workshops The next project we are working is a collaboration with AND Festival and artist Heath Bunting where we are hosting an artist residency who will adopt a new identity We are also planning an exhibition that will coincide with our Open Studios which will be titled Fayre We have provisionally listed some artists we want to work with but mainly we want to keep the process as fluid as we can AB Has anything taken you by surprise working on the project space and has there been any unexpected or tangential outcomes so far TA There have been many surprises along the way and I suspect there will be many more It s the nature of the space really as an artists studios and project space it is totally different from working in a conventional gallery which makes the whole thing very exciting We re essentially developing a curatorial process as we go along and that requires us to be fairly dexterous when it comes to problem solving Starting a programme from scratch is challenging but this is the best learning experience we ve ever had AB What recommendations and advice do you have for artists curators running project spaces in similar situations TA Define your own position Develop a clear authorial ethos which works for you Be realistic but resourceful sometimes just asking the right person can achieve great results Learn how to compromise and negotiate situations

    Original URL path: http://www.corridor8.co.uk/online/interview-ahmed-carpenter/ (2016-02-15)
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  • Interview: Richard Taylor and Naomi Tattum, Bloc Projects | Corridor8 —
    wanted to make things that would be interesting to look at in a space Naomi Tattum In the 1st and 2nd year I was very much just experimenting with objects and materials whilst not really understanding or being pressured to understand why I created what I did Sometimes understanding or the need to understand stunts the creative organic growth that can take place through just doing The BA enabled me to discover where my interests lie in the world of art but also what feeds it in everyday life What was it like working with the curator James Woolley Richard Taylor Working with a curator was a new experience for me In the past when I have exhibited my work I have had to organize all the different parts of the show myself from curation to advertising so it was a nice change to surrender some of those decisions to someone else who had perhaps only recently encountered my practice and presented the content of the work in a completely different way than I had previously Naomi Tattum I was attracted to James vision for the show and in particular his approach to this piece of work He had his own ideas for the presentation of the piano which is how I wish the piece to now be exhibited I now see it as an object that has its potential fulfilled by others appropriating and experimenting with its ever changing state What will you be doing after the show Richard Taylor Currently I am working on a collaborative project with another Sheffield based artist Ruth Wilde and organising a series of group exhibitions with a small collective of mixed media artists Naomi Tattum I will be exhibiting in New Young Leeds a show that explores and exposes the young visual

    Original URL path: http://www.corridor8.co.uk/online/interview-richard-taylor-and-naomi-tattum-bloc-projects/ (2016-02-15)
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  • Review: Graham Hutchinson, Untitled Gallery | Corridor8 —
    work which he and Katie selectively chose from for the exhibition Courtesy of the artist Courtesy of the artist The works have been sensitively arranged in two assemblages diagonally opposite each other This suits the narrow gallery space where a more dispersed arrangement may have been overwhelming The clustering also has the effect of nudging the viewer towards the allusive motifs running throughout Bodies faces animals and abstracted shapes weave through these images in various stages of wholeness merging breakdown and transformation Figures exist somewhere between human and animal sex and aggression humour and anxiety giving something with one hand but occlude with the other Cosy images of 1940 s couples cardiganed ladies and perfect children are made strange through circular cutting out of faces or the pasting in of animal features like antlers or a curiously placed squid Titles such as I Think We Should See Other People and A Dream About My Old Life hint at disruption and personal loss The clearly historical nature of the source material is well suited to the medium The past is often presented as a flat collection of fragmented visual remains which often serve contemporary preoccupations rather than a coherent understanding of history on its own terms The essential violence in this selective remembering is mimicked by the cutting and pasting in the technique However any excessive historical seriousness is mitigated by the scale and delicacy of Graham s bricolage and the surreal nature of many of the juxtapositions Ambiguous is perhaps the wrong word for the work here implying as it does a kind of vagueness These are not vague images in the sense of a lack of meaning rather the opposite they have a troubling excess existing in two or more states at the same time The sense of collapse

    Original URL path: http://www.corridor8.co.uk/online/review-graham-hutchinson-untitled-gallery/ (2016-02-15)
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  • Video: Roger Luckhurst at S1 Artspace | Corridor8 —
    arts organisations For Corridor8 s issue no 3 2 launch at S1 Artspace on 30 March 2012 Roger Luckhurst professor of modern and contemporary literature at Birkbeck College University of London spoke for us He revisited Richard Kostelanetz s seminal art and writing publication Breakthrough Fictioneers 1973 featured in no 3 2 and reflected on the contemporary state of the aesthetic avant garde Click on photo to view video Share

    Original URL path: http://www.corridor8.co.uk/online/video-roger-luckhurst-at-s1-artspace/ (2016-02-15)
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web-archive-uk.com, 2016-10-25