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  • Review: Jerwood Drawing Prize 2013, Hatton Gallery, Newcastle upon Tyne | Corridor8 —
    mastication gum stretching from lip to fingers Fialova s graphic style has a dead pan flatness to it the central figure is surrounded by the detritus of daily life the tumbling halo of objects includes Crocs shoes cats and horses their forms making a deft nod to Dürer s Apocalypse series The Jerwood Drawing Prize is the largest and longest running annual open exhibition and this year attracted over 3000 applicants This year s judges Kate Brindley Director of MIMA Michael Craig Martin RA artist and Charlotte Mullins art critic writer broadcaster and Editor of Art Quarterly selected works in accordance with the Prize s aims to demonstrate the diversity excellence and range of current drawing being produced by artists working in the UK The eclectic mix of artistic approaches certainly evidences the variety and originality of art being produced right now however there is a sense that some of the works have made the cut more for their unorthodox methods than their success as self sufficient works The moving image works are the strongest sub category overall with the taker of Second Prize Marie von Heyl s Interior Utopia 2013 and a special commendation for Neville Gabie s Experiments in Black and White 2013 both representing strong approaches to drawing through film Von Heyl is definitely one to watch exploring and articulating the interior of her apartment she negotiates the space using her body as medium As her fingers move purposefully through the air she traces invisible lines evoking objects in her proximity These gestures are interspersed with more haptic interaction with her surroundings so stark to her sensitive movements that these moments of contact can almost be felt by the viewer The far wall of the gallery hosts an intriguing and rewarding selection of smaller works Slightly cluttered

    Original URL path: http://www.corridor8.co.uk/online/review-jerwood-drawing-prize-2013-hatton-gallery-newcastle-upon-tyne/ (2016-02-15)
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  • Review: Dennis Oppenheim- Thought Collision Factories, Henry Moore Institute, Leeds | Corridor8 —
    presence is so dominant that it leaves the audience with a sense of unease inviting you to look closer whilst toying with your instinctive urge to keep a safe distance from the work s hard body and explosive properties The complex structure incorporates carefully placed objects with ignitive properties such as lighters and fireworks giving the sensation that the whole art piece feels poised to explode evoking a powerful sense of suspense To compliment the exhibition part of his series of firework signs will be set off each one burning text into the sky creating a temporary sculpture and generating the full sensory experience that is often characteristic of his work Explosives engage our senses fully before after and during their reactive states giving an experience of sight sound smell sight and even touch as heat pours off them Although often spoken of as a sculptor strong elements of performance photography and film dominate his work Oppenheim s film Echo also being screened in the gallery is a brilliant example of his versatility as an artist and the breadth of tools employed to create work in his practice This audio and visual piece presents the violence of a large scale open palm crashing against a flat neutral surface and despite being a departure from the body of work on display it sits perfectly with the sculptures in the exhibition exploring the place of film in sculptural practice The film like all his work on display uses scale as an essential element rooted in the language and tools of sculpture whilst also providing a base platform to expand his ideas Throughout his career Dennis Oppenheim worked hard to explore and extend the definition of sculpture and was appreciated for Lifetime Achievement at the Vancouver Sculpture Biennale In Thought Collision Factories photography

    Original URL path: http://www.corridor8.co.uk/online/review-dennis-oppenheim-thought-collision-factories-henry-moore-institute-leeds/ (2016-02-15)
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  • Interview: James Hedley Harper from The Royal Standard, Liverpool | Corridor8 —
    our neighbouring organisations have and at the same time we have been able to continue to meet our own demands of creating dialogue and providing a supportive and critically engaged environment for our studio members to work in SB What do you think are the benefits of working as a group of directors rather than say one or two curators Is the dynamic of working with other artists more interesting than working solo JHH The Directorship at the Royal Standard is a voluntary role While we look to bring in personnel with experience of how a gallery function or curatorial experience it is to be seen as an opportunity to learn and acquire further experience Having a team of directors means each individual can learn something from the other directors Anybody who takes on the directorship will already know that they want to work as a group and within a constantly changing fast paced environment that s an inevitability of the role s demands Is it more interesting Certainly without a doubt The constant exchange of ideas between studio members directors and visiting artists can only possibly be seen as a positive not just for those involved internally but for the city of Liverpool as a whole SB Your new exhibition DIFFERENT DOMAIN challenges arts online presence and its relationship with the gallery Could you tell me a little bit more about where the concept for the exhibition came from JHH There is a growing contingent of internet based exhibitions and online only galleries that have spawned an increase in the amount of work that is made for the internet made specifically to be exhibited online With DIFFERENT DOMAIN we wanted to challenge the idea of how work should be exhibited online and allow our online exhibition to spill out into the physical gallery environment This was a theme that the current group of directors had collectively wanted to express SB What do you hope viewers gain from it JHH Firstly having an exhibition based primarily on our website means we don t have to subject our visitors to the arctic conditions of our galleries during the winter months Viewers can see great art from the comfort of their own homes or even on the morning commute It allows people from further away perhaps from other countries to get an idea of the kind of things The Royal Standard is doing SB What s the new space in the gallery like JHH Our new gallery space is at present still reminiscent of its former use as an office space the carpeting and ceiling tiles are still in place Our last exhibition The Narrators was the first to occupy our new gallery space and as that was almost exclusively video work we blacked out the entire space That blacking out had remained for our GIFs and Glitter party and the opening of DIFFERENT DOMAIN As a result we haven t begun to scratch the surface of its potential but it s

    Original URL path: http://www.corridor8.co.uk/online/interview-james-hedley-harper-from-the-royal-standard-liverpool/ (2016-02-15)
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  • Review: CUE – Piccadilly Place, Manchester | Corridor8 —
    s images are projected directly onto the concrete of the gallery s walls giving them a print like aesthetic and the glamour of the content which is in line with 1950s cinema is stripped away by the darkness of the images and the distance put between the viewer and the work by the re filming These are wonderfully dark films with intriguing and illusive characters themes that are accented by the absence of sound in the piece A concrete sculpture of Braille arranged on squares on the ground by Sophie Brown adopts this sense of distancing and understanding within language while the horizontal of the work and her brackets of red tape in a piece across the wall behind return us to the idea of the perceived and constructed landscape This horizontal continues in the work of Elizabeth Jane Winstanley through an arrangement of geometrical shapes in neon light creating mesmerising and bizarrely calm pieces James Moss s paintings are extraordinary pieces of depth with a wonderful use of colour These pieces feel most strongly routed in the canon of art history as their palettes recall the works of Odilon Redon and the Sublime of German Romanticism but the absence of anything concrete within them is absolute ensuring they remain the most transcendental of the offerings in this exhibition Helen Wheeler s contribution is perhaps the most strong in its recalling of landscapes and their presentations Along a wall are a series of small silverpoint abstract pieces which delineate land and beyond or the boundaries of land and sea But it is her sculpture s that are most extraordinary Created using setting plaster filled with iron particles and a very strong magnet to draw them out freezing a moment in time and then set beneath distorted part spheres of blown

    Original URL path: http://www.corridor8.co.uk/online/review-cue-piccadilly-place-manchester/ (2016-02-15)
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  • Review: Deb Covell, Zero – Untitled Gallery Manchester | Corridor8 —
    Judd describes a new form of artwork that was neither painting nor sculpture He explains how these works through their occupation of real space are far more commanding than works existing in only pictorial space For this new body of work Deb Covell uses acrylic paint to be both a dimensional form and a flat surface that seems to draw on Judd s theories in Specific Objects Covell manipulates layers of black and white acrylic paint into rectangular forms which are then gently folded or cut The process creates an illusionary effect whereby the forms appear to be both malleable and rigid On opposite sides of the gallery from one another Black Curve and White Curve are posited flat against the wall creating a rectangular boundary Representational of the formal shape of a painting supported by a canvas the gentle crease of a corner transports the works into three dimensional form Similarly with Double Edge a tantalizing fold of paint appears to be gently pulling away from itself breaking up the white plane of paint In Fold 1 Covell retains the formal shape of a rectangle through the use of contrast between black and white paint The gentle fold creates limits and lines that both distort and arrange the composition Warping the acrylic paint to appear its most malleable Back to Front and Drape stand out as the most sculptural works in the exhibition and through their presentation break up the formalism of the other works Back to Front is carefully placed on the floor with soft creases that allude to the gentle rhythms that appear when material falls and forms it s own shape The works in the exhibition reveal a practice that is driven by process Deb Covell s new body of sculptural works command the space that

    Original URL path: http://www.corridor8.co.uk/online/review-deb-covell-zero-untitled-gallery-manchester/ (2016-02-15)
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  • Interview: Evangelia Spiliopoulou | Corridor8 —
    So regarding the concept of labour I rather suggest a speculation on the term and a more conscious approach to the processes that could replace it SH Your work considers how the ideas of desire and struggle combine in the work of the artist how do these factors play out in your own personal practice ES Desire and struggle are words loaded with a heavy significance in our culture One suggests an ideal a goal beyond our immediate reach the other evokes the intensive efforts needed to reach that goal The combination of these two suggests a purpose oriented process which generates polarity but decreases the chances of exploration In my view the concepts of a wish and aim are characteristic of our times and the consumption driven culture To me desire and struggle can only become integral in the working process when they raise questions about working habits rather than becoming the motivation for work SH How did the collaboration on a show at the Bureau Gallery with Assunta Ruocco come about ES The exhibition is pretty much a curatorial operation of Sophia Crilly and Mark Kennard and their remarkable way of perceiving art I believe that the connections and contrasts that they find between Assunta s work and mine are informed by both their own artistic integrity and their curatorial experience SH Where do your ideas tend to grow from ES My ideas come from experiencing everyday life and some reading that I do when I can find the time In reading I find the intellectual support for my concerns and anxieties I would say that my aesthetics is influenced by everything that I encounter in everyday life I am just a bit more sensitive when I identify pairs of contradiction or coincidences in phenomenally homogenic settings It is a critical ability that I have gained through my journey so far and my studies in Art are part of it My academic training was in painting and I enjoy looking at paintings and being able to read through the pigments brushstrokes and composition I appreciate particularly the painters of the Italian Renaissance and what followed in Holland Belgium and Germany I somehow believe that the existential issues which were posed then have not been resolved yet and I also appreciate the contemporary painters who still carry on in this tradition But I would like to think that my work is influenced less by other artistic practices than by the manifestations of life s variations SH And finally might you be able to tell me a little about the project you are working on at the moment and how your ideas are currently developing ES I usually don t work on projects I have been making drawings almost non stop since I was five years old It is a life long preoccupation for me almost a natural process It can take years of focusing on one concept until I move on as it happened with the Office Drawings series

    Original URL path: http://www.corridor8.co.uk/online/interview-evangelia-spiliopoulou/ (2016-02-15)
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  • Review: Haggard Caravan – The Calder, The Hepworth Wakefield | Corridor8 —
    s sound work also surrounds the objects and the visitor each installation using sound to act as a narrative metaphor for the expanse encompassing it Each of the three exhibitions held within the new Calder gallery has used sound and architectural components to reflect purposefully on the location and history of the city of Wakefield and of the disused mill building housing them resulting in site specific encounters only fully understood while immersed inside them Live encounter acts as another connection existing to lead one Calder exhibition into the next the opening night of the Haggard Caravan show was a live music sound performance by the seven artists who collaborate musically together under the name Solar Lice Recordings from this event were added into the mix of field recordings and discarded sound debris found throughout Wakefield during the group s ten day residence The physicality of the performance and following sound screenings which resonate throughout the installation every hour echo the dynamic change of atmosphere that sound and live art introduces to a gallery setting Erika Vogt s glaring and disruptive sound and video works from the second Calder exhibition created a charged environment with bold objects highlighting this sense of energy and Roger Hiorns objects were activated by live nude models seating themselves upon them With Haggard Caravan the energy of the live performance still reverberates throughout the space as if in a ricochet the noises creating a narrative memory of the performance and unseen creative process behind the work The whole exhibition plays on the temporal nature of exhibition making and the visiting experience the sounds being made up from a performance that only took place once the hurriedly finished cut and paste colour print zine which sits on a windowsill a text printed on acetate taped to

    Original URL path: http://www.corridor8.co.uk/online/review-haggard-caravan-the-calder-the-hepworth-wakefield/ (2016-02-15)
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  • Review: First Year – Matthew Crawley, Leeds Weirdo Club, Leeds | Corridor8 —
    sit atop boxes of cereal and bags of rice and flour What immediately becomes apparent is the division between First Year s conception of a created existence and the notion of survival To survive is to contend however First Year s conceit is that of coping with a smaller scale existence of a life conditioned by supermarket consumerism Items such as garlic paste air fresheners and deodorant are not necessarily luxurious in terms of immediate cost but leave one questioning what conditions our concept of living and what transforms this notion of cost Chopped tomatoes and tinned meat hold little monetary value they are cheap and readily available However if the items within First Year were required to live upon the renewal of the cheap art object into something necessary for survival positions the viewer in an interesting space between observation and consumption What would be sacrificed from the cartel of art first Would it change the way you consumed objects knowing they were created under the auspices of art The work not only projects an impression of value it questions the viewer s response who is left unattended to project their own survival fantasies nightmares When encountering First Year one cant help but speculate on the reality of a year lived without human company Fear not though David Steans Something Season First Year Edition and Harry Meadley s One for the club provide both f lesh and entertainment for the year The former is a book of twelve short horror stories with pink brain coloured pages the latter a 2004 vintage bottle of Dom Perignon placed on top of its gift box and affixed to the studio wall Both works alleviate and confuse the un sentimentality of a year accompanied only by the cold materialism of consumerist products The

    Original URL path: http://www.corridor8.co.uk/online/review-first-year-matthew-crawley-leeds-weirdo-club-leeds/ (2016-02-15)
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web-archive-uk.com, 2016-10-25