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  • Review: Rachel Wrigley – Exploring PAPER, PAPER Gallery, Manchester | Corridor8 —
    marks Rachel s homecoming to the North West since graduating in 2012 from Fine Art Sculpture at Wimbledon College of Art Visiting on a quiet late Saturday afternoon a few weeks into the residency I am greeted by Wrigley who talks me through her work and how she is drawing on a years worth of documentation gathered in her sketchbooks something that has been a constant activity and companion The sketchbooks became a source of solace a way to keep connected with her practice while she adapted to life after art school resulting in a significant collection of documentation and drawings that she could use as a starting point for this residency Wrigley s previous work has explored casting aspects of buildings both internal and external and subtly manipulating the casts or displacing them creating a gentle rippling of disorientation Domestic objects interiors and architecture feature prominently and continue to inspire her research which is evident in her drawings and collage especially Wrigley has been directly connecting with the existing gallery furniture casting a small cupboard with paper pulp which she rolls out like a blanket As the pulp settles into the surface it takes on every mark and every crevice of the object resulting in a white paper crust that is both a document and a mask of the original The piece is not one that she is comfortable with and expressing a degree of frustration Wrigley sighs I need to leave it alone for now I press a little keen for more detail or justification but I sense a retreat This moment reminds me that we are inside a situation an ongoing concern There are no resolutions and statements are not necessary This residency is providing a space for dialogue between the artist and her practice The open

    Original URL path: http://www.corridor8.co.uk/online/review-rachel-wrigley-exploring-paper-paper-gallery-manchester/ (2016-02-15)
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  • Interview: Dr. Marion Endt-Jones | Corridor8 —
    communities was a bit of a challenge For reasons of clarity chronology and narrative progression I divided the exhibition into five sections early on but increasingly found that many objects fit quite comfortably into two or even more sections For instance some of the dried coral specimens such as the two red organ pipe corals look like sculptures and therefore blur the distinction between natural and man made Similarly the sea fan is deliberately placed on the wall behind Perspex within the Coral s Decorative Appeal section because its intricate lace like branching pattern is reminiscent of a work of decorative art This deliberate probing of categories is perhaps best summarized in the exhibition by Mark Dion s Bureau of the Centre for the Study of Surrealism and its Legacy 2005 2013 and Gemma Anderson s drawing Aragonite spawning under full moon 2011 while Dion s installation questions object categories Anderson s work invents a new taxonomy by representing phenomena that transcend the boundaries between the three kingdoms of nature SP The show juxtaposes historic and contemporary art along with natural history specimens textiles jewellery coins and other objects associated to corals Mark Dion s Bone Coral is based on Jacob Marperger s early eighteenth century treatise on cabinets of curiosities and in general the whole show in my view is like a cabinet of curiosity Do you feel that the use of corals as a subject or material frees contemporary artists opens up new interpretations or narrows it down to its connection to sixteenth and seventeenth century cabinets of curiosities or Surrealism MEJ Yes I think my earlier research on cabinets of curiosities and Mark Dion s Bureau which has existed in the Museum since 2005 and for which I commissioned a coral related addition exclusively for the exhibition has definitely inspired my curatorial approach juxtaposition the questioning of classification and the blurring of categories are all important aspects But equally important are explanatory wall texts and labels and a certain commitment to chronology and narrative I don t want cabinet of curiosities to be understood as randomness and an abandonment to personal whims As for the contemporary works in the exhibition I hope that assembling them under the subject heading Coral does not limit their possible interpretations too much I think you are touching upon the very difficult question of how to interpret contemporary art in general which I m not sure I can answer For me the artists in the exhibition tap into coral s rich history to highlight wider themes relevant to contemporary society such as metamorphosis identity globalisation and ecology In some cases this association may be less straightforward Ellen Gallagher s work from the Watery Ecstatic series 2009 for example can be seen as evoking the myth of the birth of coral and its subsequent association with metamorphosis in order to reconfigure notions of African American identity based on oppression and exploitation in the context of the Atlantic slave trade Hubert Duprat s Mark

    Original URL path: http://www.corridor8.co.uk/online/interview-dr-marion-endt-jones/ (2016-02-15)
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  • Review: Anna Barham – Double Screen (not quite tonight jellylike), Site Gallery, Sheffield | Corridor8 —
    all sides sweeping across moving through space from one screen to another Barham s voice reads from a text that has been processed and re processed through voice recognition software creating inaccurate computer miscopies of her original script It is these texts that Barham then re reads and records to accompany the visual material in the installation This whole process is repeated over and over with alterations occurring continually in each one of a long series of videos This video enjoys a departure from its screens and the gallery feels like the inside of a camera or darkroom where through a technical process something is being developed There is perhaps no end result here but an ongoing procedure as though Barham is continually splitting spectrums in search of secret or primitive links between different methods of communication revelling in the slippages that emerge The space between the two screens seems somehow significant as material appears to travel through it The screens being placed some distance apart require the viewer to make a small movement or gesture not dissimilar to spectators of a tennis match who move their heads from side to side as they follow the ball across the court This too is an interesting element of the piece the attentive listener and watcher perhaps completes a circle in the receiving of this piece The shadows of visitors are allowed to fall onto the screens and there can be a profound awareness of oneself within this installation Cleverly through activity like this the installation invites viewers to enter into a sort of aesthetic position or an interactive exchange wherein they are invited to consider themselves as an active participant Barham s installation seems perfectly content to reside in a rift of its own Her material spoken words and moving images

    Original URL path: http://www.corridor8.co.uk/online/review-anna-barham-double-screen-not-quite-tonight-jellylike-site-gallery-sheffield/ (2016-02-15)
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  • Review: Wolfgang Weileder – Atlas, Northern Gallery for Contemporary Art, Sunderland | Corridor8 —
    sized lines slice the plane and the image reveals itself as stacked photography Weileder like many tourists sets up his camera in iconic streets or squares in cities across the globe but unlike the tourists his camera remains there for hours Shot using a time lapse Weileder records not only the place itself but also the how it changes over time After collating this imagery it is fed into a custom made computer programme which takes one pixel slices from each photograph stacking them to create a single image The works are presented as mainly large framed photographic prints hung on the gallery wall Displayed in a series of rooms the viewer must walk around and enter different spaces to engage in the works This navigation reemphasises the geographical thesis running through the works From Paris to Singapore and Sydney to Rome Weileder s body of works are a temporal and spatial atlas The photographic imagery itself has lost its figuration in its formatting instead the works are beautifully complex and dense and yet simultaneously pared down to the principle colours of the scene A dark section remaining static across the slices of photography could be a building whereas men and women passing through the scene become nothing more than a fleeting colour there and then gone In the corner of each work Weileder provides some information including the start and end time of the photography the date the name of the place and a map of the scene Weileder also gives a synopsis of the scene that only heightens the intrigue In Singapore ladies sell lotus flowers and incense sticks in front of the Buddhist temple while Hindus celebrate the Deepvali at the adjacent Sri Krishnan Shrine yet when our eyes return the imagery we see only fluid inky

    Original URL path: http://www.corridor8.co.uk/online/review-wolfgang-weileder-atlas-northern-gallery-for-contemporary-art-sunderland/ (2016-02-15)
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  • Review: Diagrams, The Holden Gallery, Manchester | Corridor8 —
    by secular fun in Patterson s ll Quattro a periodic table where the elements are replaced with the names of characters fictional and non fictional all with some kind of cryptic crossword link to the word they replace Langlands and Bell also bring two works to the exhibition Logo Works uses the floor plans of offices of well known brands and sets them against a background of primary colours and black thereby defining a logo by architecture Their Air Routes of the World very literally displays the world according to aeroplanes Even without the title this is clear as the diagram shows the curved lines that we have come to associate with easy jet adverts but beyond that the information presented by the maps is obscure The work offers a series of close ups that fade into one another in quick succession none of the places identified by the meeting of lines are labelled and the speed at which the images move on prevents the viewer from working it out Mark Titchner s Symbolic Hieronymous Machine Gold is closest to the scientific aesthetic with satisfying order and clean lines that remind viewers of the level of artistry necessary in science to make diagrams clear while his White Stains is a large QR code carved like a wood block with the negative space painted silver and then turned into a stick figure The final artist represented is Angela Bulloch whose Copper Stack has a certain retro feel to it made entirely modern by the subtleties of colour used The stack is made of light boxes that change colour without rhythm using colours taken from television pixels with the result that it is the earthy colours of real life that emanate from the boxes rather than lurid primary colours Artistry or creativity

    Original URL path: http://www.corridor8.co.uk/online/review-diagrams-the-holden-gallery-manchester/ (2016-02-15)
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  • Interview: Pil and Galia Kollectiv | Corridor8 —
    trauma and try to split it up differently This comes into play when they make work about Hugo Ball the narrative goes that from pretty much inventing performance art in the chaos of the Cabaret Voltaire towards the end of his life he became a really serious and convinced Catholic he wrote a bunch of books on Catholicism and went to mass three or five times a day It s this traditional move from the folly of youth to the conservatism of people in their 50s But IRWIN suggest reading Dada differently they read Dada as this kind of weird messianic extreme Catholicism They relocate Dada as a movement holding on to extreme fundamentalist religious ideas LH That seems to chime interestingly with this whole structure of feeling that has built up again around the idea of the historical uncanny in recent years the idea that one can find disturbing disruptive effects by looking backwards rather than forwards You definitely see this in the works by Joseph Lewis that you ve included in the show G I think a lot of the folk traditions that Joseph is interested in were actually proto socialist but that gets overlooked in the image we have of folk now So it s interesting instead of just moving on to look at the erased origins of things Connecting up these historical threads in the present in new ways can actually be far more radical than simply looking to to the future And holding on to the past can be a radical thing against the infinite drive to the new that we associate with late capitalism We wanted to show the way that radicality can be latent in what appears conservative this is played up in Chris Evans s film for instance which demonstrates that property developers use a language of revolution and progressivism similar to that used by artists to describe their projects But we weren t trying to approach the show with the agenda of just showing right wing art we were quite surprised when somebody described Tate Liverpool s Art Turning Left show as being focused on left wing art and our show as being focused on right wing art LH Your own contribution to the exhibition picks up on that sense of late capital s appropriation of modernist tendencies what in current architectural criticism is being referred to as neo modernism or pseudo modernism The Shard is a good example it s like Tatlin but with all the social content stripped out Your pictures of fantasy architecture made out of yachts seem different from other works in the show they re not trying to locate subversive potential in the past but seem rather accelerationist Is that how you would describe them G I think they still have a sense of temporal displacement but it s future orientated they re based on thinking around what happens after capitalism what do we do with its remains how do they become useful in a society

    Original URL path: http://www.corridor8.co.uk/online/interview-pil-and-galia-kollectiv/ (2016-02-15)
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  • Review: S1 Introduces, S1 Artspace, Sheffield | Corridor8 —
    the gallery highlights the transparency of these works and what could seem to be a rather scruffy aesthetic hangs with a deceptive stillness The production process is made explicit in the work of Mark Riddington Born in Doncaster in 1989 Riddington s work sings with the visual and structural beauty of industrial materials such as concrete and plaster For S1 Introduces he has produced new sculptural works which come in the form of crudely cast columns alongside a series of new wall works The wall works find visual reference with paving slabs and fragments of buildings whilst they manage to maintain a serious level of visual delicacy The colour pallet used adds a gentle contrast to the harsh grey of the concrete and the simplicity and seamlessness of the hang provides a sensitive compliment to the works Moving towards another distinctive aesthetic both Kristian Barnes and Laura Twigg employ simple but effective visual signifiers to explore specific aspects of design and architecture Barnes born in Warrington 1990 explores surface and material more specifically that of contemporary furniture Taking influence from the uses of veneers and laminates from iconic modern design manufacturers such as Ikea Barnes creates sculptures that employ similar methods of production or finish but sit between the boundaries of furniture and sculpture The works suggest that they perhaps could operate as furniture but maintain the ambiguity of a piece of beautifully crafted sculpture reminiscent of artists such as Donald Judd or John McCracken Laura Twigg s work focuses on specific architectural features but then presents them in a simplified manner and often uses a mixture of architectural paraphernalia alongside materials of lesser structural quality For S1 Introduces Twigg has produced a series of prints alongside a group of assemblage sculptures One sculpture of note uses coloured scaffolding poles

    Original URL path: http://www.corridor8.co.uk/online/review-s1-introduces-s1-artspace-sheffield/ (2016-02-15)
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  • Review: Sara Barker & Ryder Architecture – The Subtle Knife, BALTIC, Gateshead | Corridor8 —
    to be monumental slabs of plaster but are later revealed to be wood rendered with cement the use of trompe l oeil eloquently subverting our assumptions of materiality with the uneasy reminder that deception hides in plain sight Time spent weaving through and around the installation is rewarded by surprising juxtapositions that open up virtual spaces intersecting rods form imaginary plates drawn in air and shadows cast on plinths continue the structure s lines extending its form In one instance rather humorously reflections on glass panels make it appear as though visitors to the gallery are entering and exiting via the installation itself as opposed to the building s lifts But is there more to this show than a string of visual ruses Richard Serra believed it was crucial for site specific work to become part of the site in order to restructure its organisation both perceptually and conceptually and certainly this exhibition s strength lies in its ability to simultaneously fracture and integrate its surroundings by exploiting the volume and architecture of BALTIC s second floor drawing attention to the different ways of perceiving That said it is impossible to come away from this show without feeling that something is missing The problem lies in the fact that what is intended as a collaboration ends up in compromise which sees the artist Sara Barker come off worse Her earlier works such as Conversions 2011 breach the boundaries of painting and sculpture with their wonky steel and aluminium lines that seem almost unsure of themselves In swapping human for architectural scale at BALTIC Barker loses her characteristic spontaneity and organic approach to materials resulting in a structure that though elegant also seems clinical and over thought The title of the installation The Subtle Knife pays homage to a fantasy novel

    Original URL path: http://www.corridor8.co.uk/online/review-sara-barker-ryder-architecture-the-subtle-knife-baltic-gateshead/ (2016-02-15)
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web-archive-uk.com, 2016-10-28