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  • Review: The Narrators – Walker Art Gallery, Liverpool | Corridor8 —
    of creativity this is of course a collection of work derived from the Arts Council Collection so shouldn t have been too difficult To find this elusive dialogue is a curious experience as it suggests two possibilities that either the new work is arguing with the older work or that both works are agreeing and building upon each other Lucy Skaer s Leonora The Tyrant 2006 is a perfect example of a work in subtle agreement with its gallery bedfellows It is said to be echoing the cast bronze of William Holman Hunt the founder of Pre Raphaelite movement and in some ways it does Leonora is a period desk with mother of pearl inlays portraying a set of hands trying to escape its drawer The extravagance of such a material does suggest the creative obsession with Pre Raphaelite beauty yet the piece fits so remarkably well into the Gothic space as a whole that it becomes almost camouflaged save for its information card which admits an unsubtle N denoting it as alien to the space This relationship is shattered by other work within The Narrators such as Joanne Tatham and Tom O Sullivan s HK Marble 2004 The work a huge granite sculpture spelling out Heroin Kills explicitly adds a narrative to the portraits which surround it Above it hangs Hogarth s painting of actor David Garrick playing Richard III 1745 whose whole context is realigned with the association of drugs suggesting the sitter s messy room and shocked expression are linked to some opium induced catatonic nightmare and lapse in social standing Rather aptly much of The Narrators was altogether missed on first viewing through my dedicated adhering to the trusted map the dialogues between these works being quiet enough to actively slip past in a haze of

    Original URL path: http://www.corridor8.co.uk/online/review-the-narrators-walker-art-gallery-liverpool/ (2016-02-15)
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  • Interview: Helen Benigson | Corridor8 —
    I enjoy the fact that the performers occupy the same space like they would in real life The characters act as protagonists and I see them all as fragmented versions of the same single pulsating anxious body CJ Your subject comes ready associated with a history in art of male power and voyeurism You have invited us to inhabit a visceral world that is decidedly pink and strangely sexy I wonder if by deciding to invite us in rather than put us in front of the work you are tinkering with these associations HB Absolutely I want you to feel immersed in my world of dirty sexy messy awkwardness CJ I find that your cyberspace animations are really tactile rather than overtly visual Sound and layering add yet another texture Have you read Laura Marks text The Skin of the Film Was this an influence at all HB I was greatly inspired by Mark s writing on the erotic within haptics which has the potential to become a powerful and loaded material in the work The arousal of the body captured through the camera lens works to create a sensual territory that the viewer responds to on a visual and auditory level CJ I know that in previous work you have made videos based on virtual reality games Are you fascinated by the idea of the doppelganger HB Yes definitely I am inspired by the idea that there can be many versions of self in different times and spaces For example in my early videos I often used my cousin who looked almost identical to me Now when I use casts of characters or dancers weightlifters etc I still think of them as versions of myself me but not quite I am really interested in the idea of limitless online

    Original URL path: http://www.corridor8.co.uk/online/interview-helen-benigson/ (2016-02-15)
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  • Ali Gunn | Corridor8 — | Page 4
    Marcus Coates Vision Quest A Ritual for Elephant and Castle Workplace Gallery Gateshead Review Crossing Lines Model Leeds Review Jerwood Drawing Prize 2013 Hatton Gallery Newcastle upon Tyne Review Dennis Oppenheim Thought Collision Factories Henry Moore Institute Leeds Interview James Hedley Harper from The Royal Standard Liverpool Review CUE Piccadilly Place Manchester Review Deb Covell Zero Untitled Gallery Manchester Interview Evangelia Spiliopoulou Newer events Contact Corridor8 97 Vantage Quay 5

    Original URL path: http://www.corridor8.co.uk/author/alison-gunn/page/4/ (2016-02-15)
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  • Review: Jason Hynes – Last Seen, Village Bookstore & Gallery, Leeds | Corridor8 —
    manner which is surprising given how we interpret news and consume imagery Grey misty skies and streets all the photographs appear to have been taken on the same day though actually taken years apart This simple unifying factor gives an insight into the dedication and honesty in the artist s work on the project wanting each image to belong so they create strength and a place together Deserted streets and muted colours allow the photographs a sense of melancholy without creating a falsified version of this it comes across with a natural awareness and brings real sentiment into the work Last Seen nestles quietly among the bookshelves and tables of Village Bookstore Gallery the Gallery seemingly playing an important part of the ethos and engineering of the shop The atmosphere within was relaxed and peaceful almost emitting a sense of respect for the works it was housing Yet alive with people and daily activity the shop had an energy about it which broke as if a wave at the frame edge this energy emphasised the calm emptiness of the image encased within The surrounding walls and surfaces were kept fairly simple uncluttered seemingly so as not to detract from the hanging works Village itself contains a lot of photography books magazines and zines but the exhibition didn t feel like a token object within the space it felt considered and appreciated strong enough to hold its own in an unconventional gallery space Being surrounded by books and magazines relating to all aspects of photography and contemporary art Last Seen can find its place and become part of a wider debate on current contemporary and traditional photography A small publication accompanying the exhibition summed up the feeling of the show dedicated to the missing people s families and with proceeds going

    Original URL path: http://www.corridor8.co.uk/online/review-jason-hynes-last-seen-village-bookstore-gallery-leeds/ (2016-02-15)
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  • Review: Thunderdome – The Institute of Jamais Vu, blip blip blip, Leeds | Corridor8 —
    frozen room The room within the constructed space is sparse due to its flat oppressive whiteness yet complex in its content and powerful structural and multi layered presence Entering through an open doorway you step inside to become not just a passive observer to this new dimension but a part of the structure as you move about within ducking and weaving the components criss crossing around and above you This multi layered dimension where both shapes and narratives over lap and intersect creates a charged environment allowing for mixed emotions both within the installation and within you as the viewer Calm and meditative with its white on white uniform yet full of history and strong visual stories and barriers the installation creates a jumble of history within a storage room almost like the ghost of a space an impression of a memory in someone else s recollections A simple yet very effective metaphor is provided through the works list hand out an incomprehensible yet fitting tribute and clarification of the whole installation concept as each list overlays and distorts the previous All at once showing the whole history yet without giving any one detail a distinction above the rest Outside the structure pinned to the gallery wall are exhibition promotional flyers and works lists in chronological order that are the contents of the accompanying catalogue individually attached to the wall facing the back of the structure The history shown within these images allows you to begin to make sense of the shapes and layers within the re constructed memorial to The Institute of Jamais Vu works become recognizable amongst the apparent debris within the edifice Showing these full colour captions away from the stark inside of the gallery within a gallery does not allow them to disturb the reflective process

    Original URL path: http://www.corridor8.co.uk/online/review-thunderdome-the-institute-of-jamais-vu-blip-blip-blip-leeds/ (2016-02-15)
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  • Review: Contemporary Art Society – Damn braces: Bless relaxes, Middlesbrough Institute of Modern Art, Middlesbrough | Corridor8 —
    Thatcher period and earlier on in the 19 th Century the privatisation of common land and how artists have envisioned that local landscape in relation to property Among the historic works which best fits that theme is Cotman s sketch Kett s Castle of about 1809 This shows the site of the headquarters of a 1549 Norfolk rebellion against the enclosure of common land led by local landowner Robert Kett who was executed for his involvement The most recent work is Oliver Laric s The Lincoln 3D Scans project in which the artist made 3D scans of objects in Lincoln s Usher Gallery and made the works freely available as online file downloads while Heath Bunting s early use of the internet to create artworks helps to show how far technology has advanced in the last 20 years It is a slight pity that for the live art elements of the exhibition Kaplinsky concentrates solely on Hull Time Based Arts in the 1980s At the same time the Newcastle based Projects UK was also highly active in the field and adopted a more internationalist approach commissioning works by Karen Finlay Marina Abramović and Mona Hatoum amongst many others as well as works by the likes of HTBA s Mike Stubbs One of the displays devoted to Hull Time Based Arts activities in the 1980s shows live art works created as part of a mini festival called The Blue Line This was a 12 hour event at locations around Hull broadly examing images of water and its relationship to the city One of the performances was Blue Bondage Line in which Silvy Szulman tied her belongings along a long rope and dragged them on her hands and knees through Hull on a busy spring day to the general bemusement of the

    Original URL path: http://www.corridor8.co.uk/online/review-contemporary-art-society-damn-braces-bless-relaxes-middlesbrough-institute-of-modern-art-middlesbrough/ (2016-02-15)
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  • Review: Jemima Brown – Untitled Profile Pictures, PAPER Gallery, Manchester | Corridor8 —
    and ambiguous imagery The amount of work the micro gallery has been able to showcase is impressive as is the inventiveness of display Framed portraits line the walls whilst others are exhibited in a looping slideshow Yet more still fill a large portfolio sitting atop a retro sideboard It all hints at a mixed ancestry that smacks as much of the family album as it does the history of painted portraiture Most immediately apparent throughout the collection is the notion of personal narrative stories memories and the desire for self expression all coming to the fore through the image choices people make It s important to note that the drawings are exclusively derived from profile pictures those chosen above all others to represent a person s public identity It begs the question are the images we choose an accurate vision or a desired version of ourselves This notion of projected identity fits into a wider social narrative of an image conscious consumerist culture A digital world that never switches off Who will we choose to be on any given day A mother A friend A political commentator A sun kissed babe on the beach On this fleeting platform we continually ditch pictures in favour of newer better versions of ourselves but by recreating these images as artistic portraits Jemima has extracted these moments of self creation and crystalised them forever Now they hang in a gallery as pieces of art and eventually they might perhaps find a home on the wall of a stranger s house Therein lies another narrative strand the drawings are necessarily stories of their own each told by Jemima They are an abstraction from the original the artist s interpretation of the details So how close can you get to the original person To the individual

    Original URL path: http://www.corridor8.co.uk/online/review-jemima-brown-untitled-profile-pictures-paper-gallery-manchester/ (2016-02-15)
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  • Interview: Black Dogs | Corridor8 —
    simply provided the subtext to the punchline The second version in the windows of an office and then as a publication became almost more meta as the viewer didn t really even need to know if the objects were real This doesn t really address the question but leads on to Poles in which the objects almost retreated from view entirely being subsumed by this overly complex winter wonderland which we created in a very large space It is personally the Black Dogs project I ve been involved with that I am most proud of as we spent so much time constructing the whole world for these tiny objects and their even smaller narratives and the whole thing only existed for barely two days and was seen be almost no one Poles was like taking a tiny piece of a child s artwork and putting it in wall size ornate golden frame But I think often when something like that is done as art it is an exaggeration of the banal and in the end the viewer is left unsure as to whether the object is being mocked or maybe art itself is being derided This can arise from the artist s flippant approach to the extravagant value that their work has as art Poles was entirely without sarcasm malice or irony The objects had their own value before during and after but our work itself was valueless because it was so fleeting Maybe we were the ones being mocked for putting so much effort in to make it look so wondrous AC It s perhaps also worth mentioning Next to Nothing 2011 which was the first Black Dogs project I got involved in The subtitle was An Exhibition on The Price of Nothing and the Value of Everything It was quite an object based exhibition held in an empty shop unit in Leeds and then again in an artist run gallery in Glasgow The whole premise of the exhibition was exploring ideas of value which contributors did in various direct or oblique ways and I can t decide if it is wholly appropriate or wholly inappropriate that it involved the most things that look like and could be saleable art items as any recent Black Dogs project I m not really interested in the monetary or economic value of art I am interested in art as a site for meaning making and in the experience of making and encountering art works I think that s the case for most artists RS Can you tell me a bit about the Black Dogs Quarterly publications which started in 2013 I m particularly intrigued by the geographic nature of the titles Grim Up North Shit Down South and Dead End Town and how geography has perhaps shaped the collective in general AA As time s gone by members of the collective have moved away from Leeds to other cities and attracted new members there So we ve ended up with cells in

    Original URL path: http://www.corridor8.co.uk/online/interview-black-dogs/ (2016-02-15)
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web-archive-uk.com, 2016-10-23