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  • Review: Tony Charles – Abrasive Action, Untitled Gallery, Manchester | Corridor8 —
    the relationship between objects and in Charles s piece this relationship is extended to a whole community of objects much larger than any selection painted by Morandi However like Morandi s work no two shapes are alike in this set The abrasion in this case runs vertically down the shapes which reflect light in continually different ways at any one time each of your eyes will see the form differently thus creating a fuzzy disorienting vision upon close inspection One of the works from Charles s Unpaintings Series sits on the wall opposite in the exhibition a concept that is reminiscent of Robert Rauschenberg s Erased de Kooning Drawing Charles has taken a small work on an aluminium base and stripped away the paint to leave an abstract composition of colour and mechanical abrasion marks As with the gas bottles this removal of formal content allows the viewer to face the space of the object or picture plane a scene that we presume was a three dimensional representation is here taken down to its two dimensional state and then made into a subtle relief by Charles s abrasions The exception in the exhibition is Abrasive in which the destruction is captured through a drawing of a damaged object rather than by physically mutilating an existing piece In this work the discussion of three dimensional into the two dimensions is most obvious This work is utterly two dimensional in that even the paper is remarkably flat and pure but shaping is evident in the damage of the object depicted In all of these works there are several elements of commonality Firstly every piece is about the vertical the colour is striped from the gas bottles in vertical lines the mechanical abrasions in the Unpainting run vertical and the composition of Abrasive

    Original URL path: http://www.corridor8.co.uk/online/review-tony-charles-abrasive-action-untitled-gallery-manchester/ (2016-02-15)
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  • Review: Markus Karstieß – Boxes and Corners, Hatton Gallery, Newcastle upon Tyne | Corridor8 —
    been variously poked pummeled pulled and scratched The resulting cavities lend the objects an intimacy not usually associated with works of this scale while at the same time subverting any notion of the works as decorative The objects not only preserve this activity but also celebrate the hand of the artist not just Karstiess but anybody who s ever bothered or been interested enough to stick their finger in a lump of clay It s not long before we re wanting to put a collective finger up at Post Modernist s who turn their noses up at such markers seeing them only as outmoded gestures of authorship Scattered across the floor of the gallery though no less entrancing are clusters of smaller grey metallic boxes As we know boxes have become an essential part of the art historical canon from the modernist grid to Warhol s Brillo Boxes and on the surface Karstiess s casts of ordinary cardboard boxes do little to buck this trend Each of the boxes contains mysterious pools of blues browns and greens some bubbling others cracked and frozen This collection of surfaces to borrow Smithson s phrase are in fact glazed glass the temperature at which they were melted creating a range of colours and consistencies which were then poured and left to cool in ceramic boxes The metamorphosis induced at the time of the material s formation appears to reverse before our eyes as light catching these surfaces transforms them from solid into glinting pools of liquid Far from peddling modernism s seemingly endless procession of boxes Karstiess instead creates containers for a kind of primordial soup where past present and future collide As well as creating series of visually stunning objects Karstiess s material alchemy also evidences a strong conceptual tac each object

    Original URL path: http://www.corridor8.co.uk/online/review-markus-karsties-boxes-and-corners-hatton-gallery-newcastle-upon-tyne/ (2016-02-15)
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  • Review: Lara Almarcegui – The Last Coal Extraction in Newcastle, The NewBridge Project, Newcastle upon Tyne | Corridor8 —
    a particular site in central Newcastle The Central Science Development situated next to St James Park was throughout 2013 a Surface Mine Whilst in operation Almarcegui organised tours of the site for the public exploring the coal seams and the geological layers of earth and rock The mine is now backfilled At The NewBridge Project Almarcegui presents the conclusion of her research into this site A large sculptural presence fills the floor space of the gallery Steel rust and harsh geometric lines the construction is a medium sized mine cap a device used to cap a mine before it is backfilled This large structure is 6 5m square and stands half a meter tall a replica of the one used on the Central Science Development it stands as a reminder of the last coal mine in Newcastle Alongside this structure are two photographs of the site Void of figures or industrial equipment the focus of the imagery is the raw earth itself Rubble and strata and the colours of heavy industry rich orange grubby brown and grey create a painterly beauty from an industrial scene Walking around the mine cap and observing the photographs there is a deafening quiet Thirty years ago men women and even children across the North East stood shouting in defence of the mine workers whole communities went on strike and brothers became enemies as so called scabs went back to work Almacegui s work though does not concern itself with anger or intervention The Last Coal Extraction in Newcastle makes no social or cultural comment it simply serves as a reminder of an event Almacegui treats this sensitively the significance of this act is left unsaid but enough is implied More than once whilst in the gallery I overheard conversations and took part in one

    Original URL path: http://www.corridor8.co.uk/online/review-lara-almarcegui-the-last-coal-extraction-in-newcastle-the-newbridge-project-newcastle-upon-tyne/ (2016-02-15)
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  • Interview: Joana Vasconcelos | Corridor8 —
    commissioned site specific installation which takes over Manchester Art Gallery s atrium and of course the building itself inspired me ES What were your first thoughts when you where approached by Manchester Art Gallery JV I was really happy I ve showed in Birmingham before which was a completely different space and a much smaller show and I exhibited different pieces but I loved the experience To do another show in the UK is a way for me to experience another city and to continue the work I had done previously here in the UK It makes a lot of sense to go away and come back to places as when you come back to a country you always look at the culture differently learn more about it and interact with it in different ways If I hadn t done my previous shows in London and in Birmingham I could not have done what I have done here in Manchester as I know so much more about the UK and its culture from my previous experiences ES So your previous exhibitions in the UK but also internationally such at the 55 th Venice Bienniale in 2013 and your solo show at the Château de Versailles in 2012 have all had an influence on what you have done here in Manchester JV Yes of course If I had not done Birmingham I wouldn t be doing this show now Everything is connected and of course the London shows that I did were very important to be able to do this show too So in a way everything is connected and makes part of a whole ES Manchester has a world class collection of both fine and decorative art How has this influenced the work you have done here and how did you select what works you wanted to interact with JV First of all I was amazed by the quality of the paintings in the collection and I was like oh my God what am I going to do there are so many things but it was quite easy actually I came to look round the galleries and I saw things that connected directly with the things that I have at home such as the William de Morgan and Pilkington tiles in Gallery 5 When I saw the three nudes in William Etty s The Sirens and Ulysees I was like Arrgghhh Big Boobie A large work in Gallery 3 which playfully responds to William Etty s The Sirens and Ulysses 1837 You really need to come to see the space to meet the pieces and to understand the environment and what is important and what is not and to connect you need to be open to learn something about the culture and that s what I did ES Manchester s textile industry has had a big influence on the work you have produced for the exhibition and I wondered how as you researched this history it might have altered your

    Original URL path: http://www.corridor8.co.uk/online/interview-joana-vasconcelos/ (2016-02-15)
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  • Interview: Louise Mackenzie | Corridor8 —
    many disciplines and a lot of that I think is related to globalisation the internet the fact we have access to so may different things now Rudolf Clausius the physicist who first defined the term gave a speech where he spoke about a transformation content of energy and the term that he coined was entropy I felt that transformation content from a contemporary art perspective was a better description of what I was trying to do it has this scientific notion of things dispersing and fragmenting and how that might relate to contemporary society RT That sense of fragmentation comes through in the cyanotype prints you ve produced LM Yes I d been working with cyanotype prior to receiving the organ wood and I loved the way it allows you to alter an image Cyanotype first came into being around the same time as the church that the organ wood came from and I liked this connection so I found a way to use cyanotype to capture fragments of old photographs that the former congregation had kindly loaned me to try and allude to memories retained but perhaps not quite whole RT Has it been difficult to focus on just one object LM Not in terms of limitation If anything the challenge was that there were so many components I could have worked with in so many different ways The key is to make the history of the organ come through somehow and the most powerful thing for me was the dust within the wood itself One of the central pieces to the show is a dust print of the wooden planks onto a fabric sheet that has been translated quite systematically into music For me this piece Lament is almost like a swansong the last chance for all the history to speak out RT You ve collaborated with musicians on this part of the project too has collaboration always featured in your practice LM I find working with other people enriches the development process and I prefer that to working in isolation I like to learn and try lots of different things it all goes back to the dissemination and crossing over of ideas The translation of the wooden planks into song was initially my own work I devised this colour coded system where depending on the size and position of the hole it determined the length and pitch of the note I made a translation of this code onto a musical stave and then took it to the music department at Newcastle University and enlisted the help of two 4 th year music students who could more readily see how it would work as a piece of organ music They ve translated the rest of the planks using various techniques and software but it s very much been a collaborative process that has led to conversations and considerations for further work with sound including recording memories of the past congregation and working with a piece of software called

    Original URL path: http://www.corridor8.co.uk/online/interview-louise-mackenzie/ (2016-02-15)
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  • Review: Rachel Wrigley – Staring at the Artex Ceiling, PAPER Gallery, Manchester | Corridor8 —
    new year in with artist Rachel Wrigley opening her show on the 18th January which runs until March 1st As the name suggests the gallery predominantly features work utilising paper as a support which Wrigley captures brilliantly An artist based now based in Mirabel Studios following her recent residency Wrigley s work spans the boundaries of drawing and sculpture as her exhibition Staring at the Artex Ceiling show cases Delicate pen drawings captured on tracing paper span around the room depicting subtle movements and repetition until the original form becomes almost recognisable Carefully hung each piece is considered the dainty drawings command attention as they float in a sea of white space Through this work Wrigley aims to capture motion and illusion which she achieves as successfully through sculpture as with drawing Sourcing images often from magazines Wrigley considers each image s subject matter before sculpting it accordingly Combining a series of simple and intricate folds her work in this series is similar to her drawings delicate but with substance There s a strong nod to architecture in it s more abstracted format with a self confessed influence of Rachel Whiteread s sculptures Distorted and unfamiliar the folds within each piece force us to reconsider our relationship with the space around us Wrigley does this through her choice of subject matter often manipulating images with striking interiors She also plays on the notion of the image as a trace a shell of a place which may or may not be still in existence This idea of an unfamiliar perspective allows us to re imagine and re create viewing architectural constructs as a series of malleable forms It is the shapeable nature of paper which allows this re visioning to be a possibility and is a testament to Wrigley s practice

    Original URL path: http://www.corridor8.co.uk/online/review-rachel-wrigley-staring-at-the-artex-ceiling-paper-gallery-manchester/ (2016-02-15)
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  • Review: Soft Estate – Edward Chell, The Bluecoat, Liverpool | Corridor8 —
    parts yet described using their elaborate Latin title and shown alongside reflective road signs illustrated with prose The motorist soon realises what wonderful and hitherto unknown views this new road provides outlining the thoughts of the entire exhibition illuminating negligible parts of the landscape Above the main gallery space manipulated photographs of passageways are projected onto the gallery walls complemented by the sounds and deep pulsating tones of motorway life As Chell explains While 18 th Century tourists travelled to areas such as the Lake District to capture images of wild places in today s countryside uncontrolled wilderness only springs up in the margins of our transport networks and the semi derelict grid plans of industrialised corridors These soft estates invite a new kind of tourist new ways of looking and new forms of visual representation Other artists including Tim Bowditch Nick Rochowski Day Bowman Jan Williams Chris Teasdale The Caravan Gallery John Darwell Laura Oldfield Ford George Shaw Robert Soden and Simon Woolham interrogate similar themes of those familiar yet overlooked and indefinable spaces and have been invited to exhibit alongside and in conversation with Chell Their works depict juxtapositions commonly experienced in what they describe as edgelands such as beauty and pollution wilderness and human agency Robert Soden presents a series of landscape paintings of indeterminate urban spaces reminiscent of a Paul Nash war torn landscape dark and at the same time aesthetically wonderful By examining the unknown parts of the landscape artists such as Laura Oldfield Ford s remarkable pastel drawings of subways and urban bridges reintroduces the familiar revealing a renewed attraction Photographs by John Darwell taken whilst dog walking along a river denoting the boundary between arable land and urbanisation focus on the mundane bypassed subjects and add an imaginative significance to these borderline spaces

    Original URL path: http://www.corridor8.co.uk/online/review-soft-estate-edward-chell-the-bluecoat-liverpool/ (2016-02-15)
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  • Review: A New Reality – Part 1, The Tetley, Leeds | Corridor8 —
    letters Having once adorned the front of the original building they are now piled atop one another as a lonely gold non monument in the centre of the room entombed by the architectural features of the space Oak wood panelling parquet floors copper radiators and sash windows re incite memorial tribute to the building s heritage The rooms are an alluring nod to tradition where object identity is interrupted and reinterpreted by the art gallery agenda Adjoining these rooms is James Clarkson s Smooth Flow a retrospective commentary on the social history of manufacture at the Tetley through documentary photographs and found objects The exhibition is eerily dislocated from labour The noise dirt and movement captured on the photograph pasted columns are calcified in the small space Site specific labour becomes reductive Objects of rust and pot sit atop clinical white plinths their forms made monstrous by the photographs of hands below them Office labour is formalised into shape and line devoid of narrative action to be admired for the plasticity of its composite parts A perpetual suspension between tradition and exhibition which worked well in the archival rooms is here problematised by the architecture of the space You succumb to an oak overdose Here the wood panelling parquet floor and copper radiators visually stifle the work on display distorting the relationships between tradition labour social history architecture and contemporary art The central atrium gallery which spans two floors plays host to Simon Lewandowski and Sam Belinfante s Reversing Machine an exhibition centred around the eponymous machine Perceiving the passage of time through a palindromic mechanism you are invited to take part in a metaphysical suspension aided by sculptural automata The exhibition is fascinating in its conception and reframing of the historical story telling that is taking place in its

    Original URL path: http://www.corridor8.co.uk/online/review-a-new-reality-part-1-the-tetley-leeds/ (2016-02-15)
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web-archive-uk.com, 2016-10-21