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  • Review: Steven Dickie – A Hypertrophied Eye, The NewBridge Project, Newcastle upon Tyne | Corridor8 —
    the sound is contained via an encompassing acrylic tube broken in the middle by a microphone connected up to an amp suggesting an invitation to reciprocate noise within the space On the wall opposite to the entrance a video is washed in white it depicts the outline of a severed eye in motion an autonomous limb that doubles as an actor in a film occupying the majority of the frame The high opacity animation is projected from a central vantage point and the image is thus received upon the wall Only until the viewer walks across its path and intercepts the projection does one realise that it is in fact not only one image but two one layered over the other By stepping in front of one of the two projectors the opaque viewer literally allows for a new visibility of the irritable eye Upon another wall plays the film The Problem of Explaining a Thunk the 17 minute tale of an unknown protagonist whom after waking and acclimatising to the day s activities played by the artist becomes obsessed with a particular geometric pattern After pursuing a series of object experiments that imbue Dickie s own playful physicality within the show the protagonist then finds himself at the end of a silent quest entering into a blue room within a rural wasteland clutching only a coloured stick There he finds a surreal CGI character planted at the front of a cinema watching a film that depicts the protagonist himself The remainder of the film is a microcosm of the preceding film repeated within a series of randomly coded time lapse versions each lasting only 3 4 seconds Interestingly the title may inadvertently be a concise play on the purpose of information technology and a statement about the current climate

    Original URL path: http://www.corridor8.co.uk/online/review-steven-dickie-a-hypertrophied-eye-the-newbridge-project-newcastle-upon-tyne/ (2016-02-15)
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  • Online | Corridor8 — | Page 12
    Art Gallery Preston Review Grace Schwindt Free Individual Free Society Pavilion Hyde Park Picture House Leeds Interview Bob and Roberta Smith Review Puppet Show Grundy Art Gallery Blackpool Review Eulogy Vane Newcastle Review Tanya Axford Paul Merrick Workplace Gallery Gateshead Review Science Fiction New Death FACT Liverpool Interview Claire Potter Review Wu Chi Tsung Dust Site Gallery Sheffield Review Haggard Caravan The Calder The Hepworth Wakefield Review First Year Matthew

    Original URL path: http://www.corridor8.co.uk/online/page/12/ (2016-02-15)
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  • Online | Corridor8 — | Page 11
    and Art Gallery Preston Review Painting in Time The Tetley Leeds Review Lynda Benglis The Hepworth Wakefield Preview HOME Manchester Review Totemic Polemic Olive Caustic Coastal Manchester Review I Cave Georgina Starr Mima Middlesbrough Review Michael Fullerton Prussian Blue S1 Artspace Sheffield Review Josh n Jill One Million Years B C Crown Building Studios Liverpool Review The Decorator and The Thief NGCA Sunderland Newer events Older events Contact Corridor8 97

    Original URL path: http://www.corridor8.co.uk/category/online/page/11/ (2016-02-15)
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  • Review: Eulogy – Vane, Newcastle | Corridor8 —
    to artwork While the tone to this exhibition is a delicate positive one I can t help wondering what shades the title Eulogy casts upon the works Are we seeing the last hurrah for nature as a muse of beauty Is this a lamentation Or perhaps just as botanical life must rise and fall by the season this is a song of acceptance over the cycle of life and death In the greater seasons of the universe winter too must come The variation in style and substance within the works mirrors that found in nature Some artists here hint at the long lineage of this subject whether with still life s or textile designs Others concern themselves with nature in contemporary life Tim Croft plays creator with a computer generated blossom while Susi Bellamy uses the life cycle as cypher for fashion an art as fickle as the weather As a sprig of sweet pea used to mean you have my thanks or a lily chaste purity now it is our attire that supposedly makes the statement although quite what that statement is might be is open to debate Zara Worth reflects that women s voiceless statement is one of a forced etiquette commanding purity beauty and most of all silence like the floral designs her model s bodies inhabit Sally Madge s delicate skeletons are also adorned with flowers although in a fashion that wears its seasonal cycles in a more hopeful way Death far from final feeds new life therefor breeding its own inherent paradox Simon Morris also shares a keen sense for such absurdities parodying the ultimate nature reality Meaning and meaningless creating one another in an unending ouroboros that traces the path of the natural world just as autumn eats winter eats spring It seems it

    Original URL path: http://www.corridor8.co.uk/online/review-eulogy-vane-newcastle/ (2016-02-15)
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  • Interview: Claire Potter | Corridor8 —
    HL Would you say your interest lies in deconstructing language CP Yes definitely and we re really lucky to have Eric Prenowitz as one the guests for this first event in Leeds and Lauren de Sa Naylor who has curated Language Urges She is currently tutored by Eric and so has a very close relationship with him and with everyone else also including Callum Millard who passed away a few weeks ago I was really interested in these people co curating these events not just as curators but also individuals combining elements of their personal practices and research interests The event then becomes a platform for their typical approach to making work plus providing an opportunity to address remnants of never realised art projects and using that as a tool to create an event Lauren was very interested in interpersonal dynamics and the relationships between collaborators as well and is keen to see how hey can help bring out new aspects from each other s practices and work HL Is Language Urges as a series more focused on processes than final outcomes CP It s an expanded research project for me and I prefer for the series to be thought of as an expanding platform where ideas are passed and shared on and new discussions are generated and created The idea of artist as researcher is embedded in the whole process as a researcher you have intuitive ideas for projects sometimes but there comes a time when you have to assess what your doing and articulate and explain it as a sort of creative process in itself Sometimes in my strongest moments of self doubt it almost feels like an odd creative pyramid scheme in the least literal of senses and I have to constantly question my role It sits

    Original URL path: http://www.corridor8.co.uk/online/interview-claire-potter/ (2016-02-15)
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  • Online | Corridor8 — | Page 13
    Peter Suchin Model Leeds Review Re View Iain Andrews Castlefield Gallery Manchester Review Letizia Battaglia Breaking the Code of Silence Open Eye Gallery Liverpool Review This Inferior Mirage Cactus Gallery Liverpool Review Art and Optimism in 1950s Britain Middlesbrough Institute of Modern Art Middlesbrough Review Alice Bradshaw Museum of Contemporary Rubbish Venn Projects Blackpool Review Philip Lorca diCorcia The Hepworth Wakefield Review Urban Alchemy AIRspace Gallery Liverpool Interview Shiri Shalmy

    Original URL path: http://www.corridor8.co.uk/online/page/13/ (2016-02-15)
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  • Online | Corridor8 — | Page 12
    Manchester Review The Curves of the Needle BALTIC 39 Newcastle Review Nervous Skies Amelia Bande Deborah Bower Mat Fleming and Annette Knol The Newbridge Project Space Newcastle Review Blind Gallery Graeme Durant Bloc Projects Sheffield Review High Line South Square Gallery Thornton Review Gazelle Twin Carla Mackinnon various short films FACT Liverpool Interview Rosie Cooper Writers Respond Kirsten Luckins in response to Conscience and Conflict British Artists and the Spanish

    Original URL path: http://www.corridor8.co.uk/category/online/page/12/ (2016-02-15)
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  • Review: Alice Bradshaw – Museum of Contemporary Rubbish, Venn Projects, Blackpool | Corridor8 —
    shift The photographs show items collected in Blackpool in the lead up to this exhibition the familiar detritus of any British town coffee cups carrier bags sandwich packets A pattern of behavior which is reflected in the film and it s international collections of waste Both elements of the exhibition repeat images reflecting the mass and ubiquitous nature of the rubbish As the film speeds by it is difficult to focus on any particular item in detail they chase one another at a stuttering pace We are allowed glimpses a flash of colour or recognition some other language advertising the familiar in a fresh context The collection is encountered here as it might be in reality a brief glance that barely registers mounting and replicating The Museum of Contemporary Rubbish continues a tradition of celebrating and reversing the status of low culture objects within the high status gallery space Bradshaw reflects on this connection between rubbish and contemporary artistic practice in the Rubbish newspaper which is given away to visitors at the show A large body of research is disseminated and contextualised in this throwaway often unwanted medium of the free newspaper The subject of rubbish is broken down into its taxonomic elements eg detritus rejects litter these sub categories become collections in themselves of theories and works that have now been transformed through the disposable nature of the newspaper as medium The paper communicates this research in a way which reflects on the content through quotations references and Bradshaw s charmingly simplistic renderings of the artworks she cites each section is made up of remains Here Bradshaw has linked a review of discarded waste with contemporary practice and even further she adapts Walter Benjamin s method in the paper made up of quotations and an exhibition consisting of elements

    Original URL path: http://www.corridor8.co.uk/online/review-alice-bradshaw-museum-of-contemporary-rubbish-venn-projects-blackpool/ (2016-02-15)
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