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  • Review: The Negligent Eye – The Bluecoat, Liverpool | Corridor8 —
    are scanned by a searching band of light viewers can imagine or fill in the missing parts I consider this work to question our abilities to imagine in an age where the imagined may possibly become the real Furthermore I consider this piece to illustrate the value and infinite nature of imagination and creativity something which as yet cannot be replicated by technology The collaboration between the physical the imagined and the technological also suggests that a certain harmony exists between them Perhaps the most significant contribution to the exhibition is Helen Chadwick s Viral Landscapes By combining panoramic landscapes of the Pembrokeshire coast with microscopic images of Chadwick s own cellular tissue these large extremely personal photographs explore the indeterminate fields between the abstract and figurative visibility and invisibility interiority and exteriority landscape and body the world and the self and finally medicine and culture Created during the late eighties using computer technology to overlay microscopic images of body cells across the photographs Viral Landscapes establishes the notion that technology can be used in a way that allows for an interchange between the scientific and the subjective Continuing with the subjects of science and subjectivity medicine and culture internal and external the focal point of the exhibition is the work of Marilène Oliver who has created life sized sculptures using scanning technologies associated with use in the medical field Durga uses CT scans where a combination of X rays and digital software create detailed images of the inside of the body for medicinal use Using data to cut plastic contours she creates a figure with multiplied arms copied and pasted from the data body and the result is simultaneously extraordinary and disturbing Additionally in Family Portrait Marilène Oliver has reconstructed the figures of her mother and father through stacked

    Original URL path: http://www.corridor8.co.uk/online/review-the-negligent-eye-the-bluecoat-liverpool/ (2016-02-15)
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  • Preview: Movement, Magic and Mirrors – Five short films by Maya Deren, Cornerhouse, Manchester | Corridor8 —
    dark thoughts so often inconceivable in golden age Hollywood unless in soft focus melodrama can manifest into the physical world of the protagonist often Deren herself and can mould reality around them With this in mind her films represent that dark underbelly of Hollywood that same vein that filmmakers such as David Lynch would mine endlessly in his work Films like Mulholland Drive 2001 and Inland Empire 2006 are nigh on inconceivable without Deren paving the way for dark surrealist nightmares set so clearly in the upper class art realms of the L A elite and a product of creative endeavours enwrapped by commercial excess Even more peer based filmmakers such as Kenneth Anger owe her a sense of acknowledgment for bringing these nightmare labyrinths into the visual medium in that behind the smoke and mirrors lies an ultimate truth that most including Deren sought desperately to grasp In her most famous work Meshes on the Afternoon 1943 Deren is trapped in one of these many labyrinths set around a persistent returning moment in time while trying to catch up with a faceless figure Objects play a huge role in Deren s work hinting that they possess other qualities besides their typical uses From keys to knives Meshes on the Afternoon entraps itself in a Borges esque world perhaps even one melding together past present and future times as found in Eliot s Four Quartets if ever a filmmaker could have adapted such a work Deren would have been the likeliest to do it justice Deren s films occupy that strange area found between gentle dozing and the gaping chasm of a recurring nightmare From the obsessive physicality of Ritual in Transfigured Time 1946 to the visual of the infinite through a game chess in At Land 1944 Deren presents

    Original URL path: http://www.corridor8.co.uk/online/preview-movement-magic-and-mirrors-five-short-films-by-maya-deren-cornerhouse-manchester/ (2016-02-15)
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  • Review: Interim, blip blip blip, Leeds | Corridor8 —
    of the show itself From installing to invigilating students are involved in the running of the programme which results in an organic reinterpretation of the student exhibition and refreshing insight into the output identity of art students across the country The works are diverse Sam Shackleton s pair of videos Why s everything got to be so mushy and Domestic product violence play procedural human robots stuck on repeating daily routines of a normal life to violent and dramatic ends The left displays a black and white shirted pant less duo sad and shaking in teary eyed clown make up They shovel mushy peas into their mouths until the green gunge pours onto their clothes and back onto the plate for a second ingestion The right screen shows a man covering himself in all manner of domestic soap products Shampoo shaving foam and fairy liquid are rubbed into his dry face and body until finger induced wrenching completes his transformation into a monster of sensation This self inflicted violence of the domestic habit tests the resilience of the viewer who feels the pain of the participant and the pleasure of the flinch Robotic domesticity is also presented by Elinor Wadman s Sponge and Patent Can you take one of the several hundred patents which are photocopied and piled on the floor Or is the robotic brillo sponge destined to remain in the gallery space isolated from the home and any potential use function Facing Shakleton s pair of videos is Liv Preston s Transparent Burial a fascinating un burial ground which features the ashes of her childhood dog sandwiched between two perspex rectangles The ashes usually confined to the darkness of an urn or scattered buried in a single act are exposed scientifically magnified even in a very in organic

    Original URL path: http://www.corridor8.co.uk/online/review-interim-blip-blip-blip-leeds/ (2016-02-15)
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  • Interview: Kwong Lee & Nicholas James | Corridor8 —
    they are very happy for us to paint on walls and to bring up the carpeting in the two exhibition spaces for example If artists do want to do something which changes the appearance of Federation House we can usually come to some sort of agreement For instance for our official launch we were hoping to change the colour of the building s clock face to green to symbolise the beginning of the space and it s also our colour for New Art Spaces and NOMA was very happy to accommodate this KL Anything out of the norm we will negotiate with the Landlord Although the space is very useable and practical it s our role to do the risk assessment to ensure the safety of all the artists and the building ES Since you took over the building in October 2013 how have you seen the artists using Federation House transform the space and what transformations do you expect to see over the next six months NJ From the moment we first saw the building we always had the sixth floor in mind as the curated exhibition space TOAST an artist led hosting project approached us with an extremely ambitious proposal to make this happen which resonated with Castlefield Gallery s vision to lead the North West as a region that champions talent within a national context TOAST now have this space for the first year and have already hosted the Liverpool based Cactus as part of Future Now repurposed the space with an installation The House That TOAST Built for the launch of Federation House and are due to host Sheffield based David McLeavy s Funhaus and Bristol Diving School over the coming months Filmonik have developed their full 3 rd floor space into a film making workshop and screening space as another example and the basement space on the Lower Ground floor has been completely repurposed as a theatre space by MARS KL We expect the physical changes in the space to be constantly evolving over the next five years and we want Federation House to remain flexible to artists needs We have already had great feedback from those using the space Sam Meech worked on a huge knitted banner which was part of Future Everything and also exhibited at FACT Pool Arts took on a space that was the same size as the exhibition space to at the People s History Museum which they used as a work space ahead of their exhibition NJ Pool Arts used Federation House as a test space to see how their work would look in the exhibition space and how the audience would approach it It gave them the opportunity to produce the work but also to consider how it would engage with the Peoples History Museum space Holly Rowan Hesson and Lisa Denyer s work in particular is being directly influenced by the building and they are working together in response to the space and to each other s

    Original URL path: http://www.corridor8.co.uk/online/interview-kwong-lee-nicholas-james/ (2016-02-15)
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  • Review: Re-View: Iain Andrews, Castlefield Gallery, Manchester | Corridor8 —
    scene of trees and architecture in a style that is instantly recognisable but this comfort in familiarity slowly falls away on closer inspection making sense of the image is almost impossible as the intricacies of details are tightly woven together The fairytale is most especially prominent in a series of works on paper clustered together variations on a theme of The Temptation of St Anthony and other Stories Scenes depicted in pen and wash offer theatrical characters and drama but there is little consistency across the works and no apparent through line They are visually held together by a small mixed media sculpture positioned in the middle of the papers the hand of God reaching down into a fantastical land with hybrid taxidermy beasties This divine orchestrator is an ever present notion in the exhibition and combines with a theatrical language strong characters historical clothing and motifs of theatre curtains to effect a sense of the predestined This divinity is introduced to us in the commission for the exhibition The Ancient of Days This two storey print appropriates the style of Dürer and seems to discuss themes of creation and religion with a few obscure contemporary emblems thrown in The poetic nature of Andrews style is beautifully brought together in the magnificent Echolaia or The Wild Swans Like many other works this painting quotes landscapes from seventeenth century Dutch painting and figures from Renaissance works but over all this impasto paint in brilliant colours weaves a synaesthetic dance across the composition The painting fights with itself deciding what it should be an overarching representational structure wins out but nuggets of other ideas remain in the final impression In this work it is most obvious in the disturbing Surrealist eyes scattered across the canvas This is an exhibition of endlessly intriguing

    Original URL path: http://www.corridor8.co.uk/online/review-re-view-iain-andrews-castlefield-gallery-manchester/ (2016-02-15)
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  • Review: Letizia Battaglia – Breaking the Code of Silence, Open Eye Gallery, Liverpool | Corridor8 —
    to Peppino Impastato a Mafia son turned communist murdered for his activity a howling mother restrained by listless policemen convinced her son is the body crowds are gathering to peer at In the various deaths portrayed the rush of the moment of assassination the whirlwind shock and rush of excitement go hand in hand with composure and the dignity of the victims These photographs which caress and toy with the fabric of reality as much as they dutifully document impose upon you the formidable force that the Mafia represented in a deeply corrupt Palermo They also forbid you to escape from the reality of absolute poverty that successive conservative politicians religious officialdom and criminal elements overlooked with ease in post war Sicily A photograph s title explains the subject a woman who having been exhausted from work did not respond to one of her children crying in a cot She awoke to find that a rat had feasted on her baby s fingers in 1997 Counterposed against this world of squalor are images of the local bourgeoisie and aristocracy holding luxurious balls Given the poverty illuminated it is perhaps no surprise for the reader to learn that post war Italy was effectively a monopoly in which NATO the Mafia and the conservative Christian Democrats invested considerable time and energy into keeping the popular Communist Party out of power With this in mind one can observe the image of insidious conservative politician Giulio Andreotti hobnobbing with mafia boss Nino Salvo and easily gain a sense of war between brothers during this time of heightened tension between state and criminality In the case of Communists and prostitutes immoral elements if you like being killed for standing in some way against the Mafia s immediate interests their deaths appear to be business as

    Original URL path: http://www.corridor8.co.uk/online/review-letizia-battaglia-breaking-the-code-of-silence-open-eye-gallery-liverpool/ (2016-02-15)
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  • Review: Art and Optimism in 1950s Britain, Middlesbrough Institute of Modern Art, Middlesbrough | Corridor8 —
    expects Lowry to be drab and his The Old Town Hall and St Hilda s Church Middlesbrough 1959 from mima s own collection fulfills expectations Among the more vivid works is Bacon s untypical Study for a Portrait of van Gogh VI 1957 The original van Gogh showing the painter on his way to Tarascon was destroyed by Allied bombing during World War II and only survives in reproductions Bacon s reinterpretation is more abstract and his proven ç ale palette of greens reds and yellows is even brighter than what we know of the original In low light in mima s gallery 2 we find David Bomberg s almost abstract Vigilante 1955 near to Lucian Freud s small lighter Girl in a Green Dress 1954 and Keith Vaughan s subtly homo erotic Landscape with Two Bathers the Diver 1954 it is easy to forget that homosexuality was illegal in the UK until well into the 1960s On the floor is Anthony Caro s Twenty Four Hours 1960 his first abstract sculpture made of welded pieces of scrap steel and deliberately not placed on a plinth In the much brighter gallery 3 is Victor Pasmore s Maquette for the Apollo Pavilion 1967 arguably one of the North East s first works of public art as opposed to civic sculpture Pasmore s pavilion still stands proudly in Peterlee last remnant of the dreams of Lubetkin s unachieved utopian masterplan for the miners new town Pasmore and Richard Hamilton spent the 50s teaching up the road at Newcastle University and some people argue that Hamilton s seminal installation Man Machine and Motion 1955 at Newcastle s Hatton Gallery was the birth of pop art Choosing one s favourite works from any given time period while great fun would normally be ultimately pointless

    Original URL path: http://www.corridor8.co.uk/online/review-art-and-optimism-in-1950s-britain-middlesbrough-institute-of-modern-art-middlesbrough/ (2016-02-15)
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  • Lauren Velvick | Corridor8 — | Page 6
    Untitled Gallery Manchester Review Markus Karstieß Boxes and Corners Hatton Gallery Newcastle upon Tyne Review Lara Almarcegui The Last Coal Extraction in Newcastle The NewBridge Project Newcastle upon Tyne Interview Joana Vasconcelos Interview Louise Mackenzie Review Rachel Wrigley Staring at the Artex Ceiling PAPER Gallery Manchester Review Soft Estate Edward Chell The Bluecoat Liverpool Review A New Reality Part 1 The Tetley Leeds Newer events Older events Contact Corridor8 97

    Original URL path: http://www.corridor8.co.uk/author/lauren-velvick/page/6/ (2016-02-15)
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web-archive-uk.com, 2016-10-28