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  • Review: Joseph Buckley – One Sixth of a Series Of Elegies: V, ?? & XVII: Retcon! Retcon! Retcon!, &Model, Leeds | Corridor8 —
    photograph of the artist hanging from the ceiling of the gallery by his right foot On first encounter the pieces in the room seem disjointed like selfish entities spread across the space However as the ghost chatter of artist discussion fills the space from the box TV the individual voices dislocated pools of colour and inverted hanged man merge into a mashed up mix of obscure reference The looped video which shows a group of artists discussing a work of Buckley s which is anonymous to the participants and viewers of the work was filmed in the space you can see the 1911 date on the grey Pearl Chambers building that faces the gallery out of the window The hanged man is suspended from the third floor of the gallery you recognise the squared sash window from the staircase and the distinct voices from the video become as distinct as the colours on the floor In the adjoining room the only other work is a peculiar black painting of a domestic interior It appears like a negative on crackle board and provides a startling counterpart to the angular rainbow shapes on the floor It isn t a depiction of the gallery space but is composed of similar elements stairs doorways wooden floorboards When entering the show you encounter the objects and rooms in turn as if their order was something other than a consequence of their curation It is difficult to explain or attempt to understand a finite concept behind the exhibition and that is because the difficulty of the show is also its success The lack of explanatory material or its deliberate obscurity results in cyclic narratives of space bodies and death which are probably little more than creations of my imagination a RETCON is the alteration of a

    Original URL path: http://www.corridor8.co.uk/online/review-joseph-buckley-one-sixth-of-a-series-of-elegies-v-xvii-retcon-retcon-retcon/ (2016-02-15)
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  • Preview: PRISM – Lionel Dobie Project, The SWAYS Bunker, Manchester | Corridor8 —
    to mention their swanky tote bags dotted about Manchester LDP s intention was to re evaluate and criticise traditional clearly inert and un engaging forms of curatorial practice in the current artistic scene and the figures behind the LDP are now involved heavily with PRISM and are pivotal to Friday s event The ethical and artistic affinity between the two camps also makes clear their collaboration In Sheffield PRISM spilled out over an assortment of spaces usually uncharacteristic of an exhibition organising gigs from avant garde electronic noise and punk bands to complement the unknown and emerging artists exhibited Co organiser Darren Chouings notes in an interview conducted in 2011 the high ratio of students to art professionals involved in these large events a 40 60 split sitting comfortably with a growing trend in Manchester to encourage graduate and underrepresented artists in small spaces For something that might be fittingly called a test run the organisers have utilised a fairly unchartered space for art in the choice of venue the SWAYS Bunker will host PRISM 15 a venue best known for irregular and intense gigs Although given the organisers evident thirst for change revision and the New this choice is characteristic Works will be shown by Hannah Allan Conall McAteer Chloe Herbert Rick Pushinsky Juliet Davis Amy Lawrence Guy Broadhurst Rebecca Amy Scofield Daniel Fogarty Emily Tilzey Adam Renshaw and MUTO The musical aspect of PRISM will be accounted for by Manchester s skronky post punk frenetics MiSTOA POLTSA the not quite aptly named Female Band fresh with a new tape out on Haus of PINS and a Sacred Tapes offering of Yes Blythe and AHRKH Dru PRISM takes place on 21 September 2013 between 9pm and 1am at The SWAYS Bunker Manchester Tickets cost 2 on the door Marcus

    Original URL path: http://www.corridor8.co.uk/online/preview-prism-lionel-dobie-project-the-sways-bunker-manchester/ (2016-02-15)
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  • Review: Eleanor Wright – THIN CITIES, Gallery North, Northumbria University | Corridor8 —
    that not only echo the architecture of Gallery North but the 1960s Civic Centre opposite Two works entitled FlatMatt 2013 occupy the expansive floor space The first made from shimmering PVC pools on the ground and seductively glitters under the gallery lighting It is made up of thin strips of waved plastic meticulously hand cut and layered together to create a woven design The second is formed with sheet rubber fantastically matt in comparison to its PVC partner Its terracotta colour is reminiscent of tiles and the interlocking design of arrowheads and archways reflects traditional geometric forms That the process towards creating these sculptural mats is so physically labour intensive offsets the design process of Hadid made via digital platform yet the strive for apparent beauty and perfection runs concurrently through both However the aim for visual perfection and its realistic placement in a hazard ridden world is not necessarily reconcilable Shortly after opening Hadid s Baku Cultural Centre suffered superficial damage in a fire Although in a physical sense the damage was only skin deep the integral iconic perception was tainted Wright has incorporated this into her presentation via a film comprised of edited YouTube videos of the fire as it happened By consequence of the viral internet phenomena the harming visuals of the blaze were shared worldwide in minutes documenting the damage and permanently sealing it on the web As if to confirm this the front and back windows of the gallery have been clad in one way reflective vinyl depicting the flames in large scale More often used in advertising display in this case the vinyl reveals and disappears depending on your placement inside or outside the building marking your position and relationship to the architecture at that particular time A final addition to the exhibition is

    Original URL path: http://www.corridor8.co.uk/online/review-eleanor-wright-thin-cities-gallery-north-northumbria-university/ (2016-02-15)
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  • Review: Nicolas Deshayes, Crude Oil, S1 Artspace, Sheffield | Corridor8 —
    there is a lot of surface to bounce off Given the works Deshayes has selected to accompany his own classical references appear throughout Many Cooks 2013 is like a big yellow Greco Roman frieze but St Cristina 1889 93 George Frampton s pre raphaelite looking plaster relief is fossil like Nearby the white panels of Gulls in Gypsum 2013 conjure up the scene of vacuum forming in Resnais film Flints in Gluten 2013 two panels with glistening white squid floating on a blue plastic sea look perfect except where a bubble has been caught during the moulding process The presence of the artist is there in that mistake and ironically the skill in the process is revealed Deshayes own Le chant du Styrène 2013 looks like pieces of melted aluminium that have been pulled or dragged into shape The forms are sand swept like the ocean floor and are clamped into place on blue poles which works nicely adding structure to the space Henry Moore s polystyrene maquette was the starting point It inspired Deshayes to investigate the status of materials used in art Here he displays the polystyrene but in disguising it he doesn t quite let it sing not with its own voice anyway The tables that are not tables fascinated me They are not plinths either for two the bronze busts that sit on them more like floating platforms yet their table ness is hard to hide Frank Dobson s Margaret Rawlings c 1936 looks relaxed gazing out to sea perhaps or emerging from the oily surface but Epstein s Bust of George Black 1942 with its angry stare just didn t belong there While it is good to see these works form HMI on display at S1 I struggled to see the connections to the contemporary

    Original URL path: http://www.corridor8.co.uk/online/review-crude-oil-s1-artspace-sheffield/ (2016-02-15)
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  • Review: The Second Quarterly Leeds Weirdo Club Exhibition | Corridor8 —
    in some ways an odd choice for inclusion One imagines a more representative impression of the larger horror story project might lie in works with more depth the extra visual dimension that words on the page conjure up in the reader s mind or the spooky talismanic quality of sculptures representing horrible stories I am thinking of the artist s Mr Cider 2012 and The Bin bag 2011 But the drawing is intriguing not quite comfortable in the clean lines of the contemporary exhibition space and its subtle suggestiveness is its strength The choice to include only a representation of an entrance is in accordance with the works of Matthew Crawley and Harry Meadley a huge tardis shaped construction indicating the idea of a portal and a discarded flannel shirt hung on a hook at the entrance exit to the gallery Crawley s Temple 2013 looks deceptively smooth slick and factory made but is in fact made from scratch by the artist from MDF wood wood glue screws red devil Onetime filler emulsion paint gold spirit paint and white vinyl At 325 cms tall it is too tall and again ultimately discordant in the venue The sculpture is a full scale representation of a Leeds poster drum apparently there are more than a hundred dotted around the city although it took me a while to recall the exact location of a single one and I found it impossible to know what to call them they are most usually covered with fly posters marketing publicity Crawley has found an object so ingrained in the urban landscape it is invisible to the unobservant and painstakingly recreated it in an unaccommodating interior Almost The huge tardis will not fit and has apparently broken through the gallery studio ceiling Not only is it inappropriately located it has been divested of its promotional purpose it is clean smooth and virginal We are confronted with an unembossed temple a monument to inappropriateness Just as Steans drawing does it makes us uncomfortable it embodies unfamiliarity its useless presence intimidates and wrong foots I am reminded of reading an interview with Phyllida Barlow whose experiments with the pressure that scale can exert on a viewer this work also references in which she said Conceptual art has been devoured by advertising 1 perhaps this work goes some way to redressing the balance Headless Body found in Topless Bar 2013 is a work that again through its placement is easy to miss Hung on a peg beside the club s door it evokes themes of arrival and departure It is visually reminiscent of a work by British artist Martin Naylor Discarded Sweater 1972 3 Yet Naylor s work has a far more laboured appearance it is a highly strung tense work with poles and pins and wire and glass variously placed in relation to the titular sweater and Naylor s sweater is pinned to the wall a stiff crucified sculpture Meadley s work is a lighter gesture easily missed loose

    Original URL path: http://www.corridor8.co.uk/online/review-the-second-quarterly-leeds-weirdo-club-exhibition-2/ (2016-02-15)
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  • Review: Nicola Ellis & Aura Satz, Castlefield Gallery, Manchester | Corridor8 —
    curatorial decision to mirror Satz s lightbox aesthetics but the reflective glass seems to obscure something from veined rock like watercolour shapes The surface qualities of materials Ellis explores can be better viewed in the upper gallery Ambiguous forms bleed into each other and the paper forming trickles and blobs and illustrate more about the materials themselves than anything obviously representational However the amorphous blobs on paper do have a distinct resonance with Ellis site specific sculpturemade especially for the two storey gallery space Porites is a paper mache and polyurethane foam clad steel L structure sitting conservatively in the middle of the space It s neutral off white finish blends in with the white walls of the gallery and despite it s huge scale is paradoxically the understated piece on show Perhaps because it has been made for this exact space or because of its innocuous material qualities the form seems at home rather than on show Named after a type of stony coral it bares resemblance to Porites appears to have organically grown across the gallery floor and up towards the two storey high ceiling responding to the confines of its natural habitat Satz s parallel feature piece in the show is a 21 minute 16mm film projection with audio entitled In and Out of Synch First shown as a performance at Tate Modern s Tanks last year mesmerizing waveforms of sound depicted as light flash up on the gallery wall whilst the audio track plays two voices in conversation As the light punctuates the darkened projection space so does the audio and the viewer can visualise what is being vocalised There is a slight time delay between audio and visual and the varying synchronicity illuminates the flawed characteristics of the outmoded almost extinct film projection technology The

    Original URL path: http://www.corridor8.co.uk/online/review-nicola-ellis-aura-satz-castlefield-gallery-manchester/ (2016-02-15)
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  • Online | Corridor8 — | Page 18
    Henry Moore Institute Leeds Review Portfolio NW The Bluecoat Liverpool Review Some Misunderstanding on Mondegreens and Pareidolias Castlefield Gallery Manchester Review Nick Thurston Pretty Brutal Library Model Gallery Leeds Interview Evan Jones Interview Maurice Carlin Review Processing Cornerstone Gallery Liverpool Review Richard Taylor COLLIDER Mexico Project Space Leeds Review Dan Graham Past Future Split Attention Manchester International Festival Review Some Recent Examples Sevendale House Manchester Review Nikhil Chopra Coal on

    Original URL path: http://www.corridor8.co.uk/online/page/18/ (2016-02-15)
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  • Online | Corridor8 — | Page 17
    Finance 1700 To The Present NGCA Sunderland Review A Sublime Confluence Rick Copsey Platform A Gallery Middlesbrough Review Doug Bowen Stuff Bloc Projects Sheffield Review Urban Psychosis The Holden Gallery Manchester Review Richard Slee Work and Play Tullie House Carlisle Review Liverpool Biennial Claude Parent Tate Liverpool Feature Clifford Owens The Methods The Man Cornerhouse Manchester Review Stephen Iles Between Space The Tetley Leeds Review Chance Finds Us Middlesbrough Institute

    Original URL path: http://www.corridor8.co.uk/category/online/page/17/ (2016-02-15)
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web-archive-uk.com, 2017-12-16