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  • James Schofield | Corridor8 — | Page 5
    Here OBJECT A Manchester Review Li Binyuan Social Behaviours CFCCA Manchester Review The Whole Wide World The International 3 Manchester Interview Sarah Perks HOME Manchester Review SIMULACRA CFCCA Manchester Review Oculist Witnesses According To Duchamp Harris Museum and Art Gallery Preston Preview HOME Manchester Review Totemic Polemic Olive Caustic Coastal Manchester Review TRIAL ERROR ART Holden Gallery Manchester Newer events Older events Contact Corridor8 97 Vantage Quay 5 Brewer Street

    Original URL path: http://www.corridor8.co.uk/author/jscorridor8-co-uk/page/5/ (2016-02-15)
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  • Interview: Shiri Shalmy, Part One | Corridor8 —
    work directly for larger cultural organisations How has your approach evolved over the years and responded to the challenges or opportunities offered by each SS I have been developing my own projects since about 2001 but had a stint at working for larger cultural organisations between 2008 2012 There is a lot to say for the security of a salaried job in a sector that mostly offers unstable employment and very little money However I felt that working within a larger organisation taking in office politics donor demands and mid management antics was not for me so I moved back into self employment In past years I generated most of the projects I was involved in for example gallery space the independent art organisation I set up in the middle of Finsbury Park north London Working this way means being in charge of all parts of the project from fundraising to curating supervising volunteers to painting walls and usually also involves taking some financial risk It also means having almost complete freedom in choosing themes and artists and how to present work I say almost because for me an important part of working this way were the partnerships I was able to form with other groups and organisations who equally contributed to the development and production of work MC To touch on those partnerships you ve put together many rich and varied exhibitions over the years covering unique topics with artists working across a range of mediums Is there a running thread for you in terms of how you go about selecting curating and developing works Or is each an opportunity to do something different SS There are definitely a number of themes that re occur in my work alongside a marked tension between two opposites the politically and socially engaged work and the interest in abstraction and a more formal investigation of artistic themes I feel thoroughly passionate about politics and that covers the full range from political history to gender politics cultural identity to economy and believe that deconstructing the political narrative is key to understanding the forces that govern our world I am very interested in the role of the artist as a political commentator and agitator and the capacity of art to provoke critical engagement while being aware of the thin line between investigation and propaganda art for it s own sake and art as a social tool On the other hand I am equally fascinated by work that is at least on the surface disengaged from any real life concerns and is instead dedicated to the careful study of form gesture and material the building blocks of the artistic practice Exhibitions like Muhammad Ali Talpur s or Lee Simmons both gallery space 2007 were an opportunity to meditate on the nature of mark making and composition line and pattern MC Your interest in people and social politics certainly shines through You have tackled big broad issues affecting society at large whilst at other times appear

    Original URL path: http://www.corridor8.co.uk/online/interview-shiri-shalmy-part-one/ (2016-02-15)
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  • Preview: Whitworth Art Gallery: letting the outside in | Corridor8 —
    Falls Apart meanwhile invited visitors to imagine they were wandering through an unconventional forest heightening both the audience s experience of the art itself as well as drawing attention to the wider context in which it was situated For this reason it s good to seen the new gallery extension by British Architects MUMA taking this impenetrable looking building out into the surrounding space of Whitworth Park with a glass walled promenade gallery that will house a cafe and interactive studios for local schools and young people This space does not impose visually on the natural environment but literally reflects what is around it through the use of polished stainless steel mullions and will transform not just the museum going experience but the outside viewer s perception of the gallery and its use The space s transparency has a dual role Visitors will be able to see out into the park but equally important local residents passers by commuters and users of the park will be able to see in and get a sense of what goes on inside What the Whitworth hopes those looking in will see is that yes galleries can be places of silent reflective viewing and learning if you want them to be but that they can also be places for meeting people discussion gaining skills and even fun Something the Whitworth has always been strong on is using its local strengths and connections from working with its extensive wallpaper collection to displaying artefacts from the textile trade alongside the artworks to drawing on its status as a university gallery The new gallery spaces will enable more of this heritage to go on show both in terms of the collections themselves and in the reopening of areas previously closed off to the public including long hidden staircases and three grand barrel ceiling exhibition halls In a nice bit of detailing even MUMA s modern redbrick extension takes its cue from historic textile patterns incorporating designs inspired by traditional slash work For an institution born of the industrial age it s good too to see science art and industry being let in to the art world Science and art will collaborate in the first exhibition 25 October 8 March 2015 where British artist Cornelia Parker will create an innovative installation which takes its cue from graphene developed by scientists down the road at Manchester University The Whitworth has already shown that it can do spectacular the well attended series of events which comprised the closing programme before the Whitworth shut for refurbishment are a good example of what can be achieved with a bit of imagination and it sounds like Parker s use of graphene as a trigger for a meteor shower will have a similar wow factor Equally exciting is the promise of a new outdoor sculpture garden As well as comprising new commissions by the likes of Christine Borland Nate Lowman Simon Periton and Nico Vascellari it will be a good chance to take a

    Original URL path: http://www.corridor8.co.uk/online/preview-whitworth-art-gallery-letting-the-outside-in/ (2016-02-15)
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  • Interview: Jamie Shovlin | Corridor8 —
    the project s onset there was an idea to re make Hiker Meat in full re filming everything shot for shot with a new cast and crew That idea fell away pretty quickly and it became clear that the absence of film was an integral part of the project At that point I was more interested in using the film as a device to create secondary media like posters and props that would substantiate the film s narrative characterisation and content It gradually became interesting that we might make a film about the project and about the non existent film at the heart of the project that would not be the film itself and Rough Cut was born In re shooting the opening and closing scenes of Hiker Meat alongside the trailer I was thinking of how little of the film could we provide so the rest of the film could exist in a viewer s head We talked about a Lustfaust performance and I think we all agreed that it would be a very very weird thing to happen now By the time they became a band back in 2007 I wasn t interested in who would appear on stage and constitute Lustfaust I was more excited by the construct as a notion to perform within Euan scores Hiker Meat but as Lustfaust It was interesting talking to him about the degree to which his writing was natural him working as a musician and how much he was self consciously embodying and performing the creation of a period specific score supposedly written by a band I think he worked across both approaches interchangeably LH In the multi channel installation in the scene where you are shooting the Lambton Worm it seems like just about everybody on set is holding a camera of some sort Clearly it was a fun moment to be involved with and everybody wanted their own memento of this But given that the project has already brought into play all these levels and meta levels of camera work Rough Cut is a film about the filming of a film based on a splicing of dozens of other films which doesn t actually exist it ends up standing out as a key scene one which offers a commentary on the ubiquity of photography and the self reflectiveness of media in the present Did these factors enter into your mind at any point in the development of Rough Cut Hiker Meat JS Absolutely I mentioned at the beginning of the shoot that I wanted footage from whatever recording device was available to any of the people on location wherever and whenever they saw fit I liked the idea of access to an expanded field of vision that would cover front and rear of the shot location and people present Naturally it was the bigger set pieces where everyone wanted to have a camera ready The worm procession was really a consequence of exhaustion In many ways the construction

    Original URL path: http://www.corridor8.co.uk/online/interview-jamie-shovlin/ (2016-02-15)
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  • Review: Akio Suzuki – AV Festival, Globe Gallery, Newcastle | Corridor8 —
    and curious as they are serious and penetrating Like an elaborate cup and string telephone Suzuki s echo instrument ANALAPOS 1970 is placed inside a large white wooden box It s mechanism disguised our full focus falls on the simple joy of interacting with the echo catching artwork It listens to us as we sing or speak into it or it enables us to listen out for sounds we are unable to pick up without help The exhibition s connection to this years AV Festival theme Extraction is not quite as tangible as in other AV exhibition s such as Stone at NCGA However these works go beyond the obvious almost personifying the natural elements Suzuki has appropriated for his work The whole show seems to provide an opportunity for communion with nature and our surroundings Although it is clear that he is an active initiator of the work he describes them as collaborations with nature Often despite his initial action he is more interested in it s less predictable effects which he carefully listens out for He refers to this secondary act of searching for resulting sound as ta do ri to trace and follow Embodying this sound search oto date Newcastle 2014 is a sound searcher s treasure map where ears mark the spot These maps are available from Globe Gallery and you may have seen Suzuki s distinctive ear lobe symbols whilst out and about town Stood with your toes pointing to the top of the ears Suzuki has marked out for us natural echo points Suzuki is a sound shaman To take time to stand and listen is a surprisingly meditative act requiring an unexpected level of concentration Although now silent in the gallery hi zu mi 2014 still instantly mentally conjures the sounds made by

    Original URL path: http://www.corridor8.co.uk/online/review-akio-suzuki-av-festival-globe-gallery-newcastle/ (2016-02-15)
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  • Review: Tipping Point – CFCCA, Manchester | Corridor8 —
    everyday objects With previous works involving experiments with disposable cups plastic sheeting and other such quotidian things Lim s latest offering involves a typewriter ribbon blown against a white wall by four large electric fans suspended in a permanent dance It may be said that Lim s material manipulation demystifies to a certain extent the process of literary creation allowing for an altered conceptualisation of the ribbon s purpose and potential An impressive bloc of material focusing upon the commodification of the female form is provided by Cindie Cheung whose Teeth version 1 highlights questions of body commodification and the stylisation of the female form Through several television screens Teeth focuses on a woman cameras lingering around her body and face in a ghoulish state of conscious imitation of the stylisation and pushing of women in the advertising industry The learnt movements from Cheung s subjects combine with footage of an empty strip club and an ethereal space replete with bright lights and smoke machine Adorned on the walls are framed isolated pieces of jewellery with metal fingernails providing a particularly menacing deconstruction of glamour once hooked to a wall objects offered as implements of sexual desire and beauty are rendered sterile redundant and industrial With seeping tension being a crucial tenet of Tipping Point so far Jamie Lau offers the most audacious theoretical angle in his claim to represent movements in larger narratives that are often beyond our comprehension to unfold in his work The sculptural work in question based on a Florida man swallowed by a sinkhole that emerged beneath his home is a large wooden structure sustaining a cup over blackness Inertia pervades the piece with the intention of the work being to lock the spectator in a state of limbo a numbing situation whose final conclusion

    Original URL path: http://www.corridor8.co.uk/online/review-tipping-point-cfcca-manchester/ (2016-02-15)
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  • Review: Hy Brasil – Opera North Howard Assembly Room, Leeds | Corridor8 —
    minutes we are taken to a mythical island that comes directly from the inner workings of Watson s mind where he carries us through the depths of it s oceans walks us across it s coast weaves us through it s forests and then lifts us above it s treeline Starting at the waters edge of the island like a natural point of birth and a starting point for life it is understandably easy to lose yourself slightly whilst experiencing this installation Curious sounds from the ocean fill the room sounding both familiar enough to be unquestionably believable and completely foreign at the same time Watson weaves a collage of sounds that surrounds the audience from the mating songs of humpback whales to the crackling of flurrying shrimps From the water we seamlessly emerge onto the beach where the lights progress along with the ambient sounds of the piece pulling us across the coastline Describing this part of the island as a hugely hostile place Watson presents a very diverse array of sounds From scuttling crustaceans to grey seals voicing the choruses of sirens and mermaids the piece quickly progresses into the islands colourful forests This part of the piece heavily draws on Watson s own experiences documenting the Galapogos islands From the cries of monkeys to the noisy mating rituals of giant turtles and the fluttering of exotic birds this part of the installation takes full advantage of the Ambisonic surround sound system which places listeners at the same position as the microphone at the time of recording Concluding the journey above the treeline of the island we are ushered up and away from the mysterious place by tropical tree frogs and manx shearwaters creatures that gather and migrate to the island under the shade of night to nest

    Original URL path: http://www.corridor8.co.uk/online/review-hy-brasil-opera-north-howard-assembly-room-leeds/ (2016-02-15)
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  • Review: The Walking Encyclopaedia – AirSpace Gallery, Stoke-on-Trent | Corridor8 —
    space within a space is a compact busy environment in direct contrast to the great outdoors No space is left unfilled but what treasures there are to behold Walking Home by Bram Thomas Arnold is described by the artist as a work in progress in perpetuity The visitor is invited to take away a copy of a text detailing a walk across the French German border and return it to the artist once it has been edited added to reduced or redacted in any way that seems fit Walk walk walk an archaeology of the familiar and forgotten by Gail Burton Serena Korda and Clare Qualmann touches on just a small part of their wider work but beautifully captures the sensory experiences of a walk and translates it into the written form Observations of the present are woven together with memories of the past both distilled into an elegantly expressed consciousness Paths of Variable Resistance is a solo exhibition by Tim Knowles a noted walking artist who attempts to limit the degree of control he has in his work by introducing unpredictable variables A fine example of this is the striking Waterwalk path of least resistance a large wall drawing which confronts the visitor immediately on entering the gallery It shows the routes of twenty walkers plotted using a combination of GPS technology and artistic flair The participants started from the summit of a hill and headed earthwards as if they were water subjected to the pulls of gravity and the twists and turns of the landscape The result is simple yet strangely evocative It is part line drawing part organic entity part map part travelogue For this writer the highlight of the show was Kielder Forest Walk a looping video installation which in keeping with the ethos of the

    Original URL path: http://www.corridor8.co.uk/online/review-the-walking-encyclopaedia-airspace-gallery-stoke-on-trent/ (2016-02-15)
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web-archive-uk.com, 2017-12-11