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  • Review: Forming Words, The Manchester Craft and Design Centre | Corridor8 —
    qualities of antique printed paper to the looping forms of handwritten words As the catalogue notes text is part of our everyday lives it therefore seems that crafts with their more practical sensibility are uniquely poised to engage with text at a creative level A number of the works have real world uses whether as jewellery or crockery The works on display are diverse in medium at the centre of the exhibit displayed side by side are Cecilia Levy s delicate papier mâché artichoke flowers and Matthew Raw s hefty terracotta piece The Language Filter The Craft and Design Centre seems keen to dispel the image of crafting as a twee activity for little old ladies with a number of the pieces on display having a rather weighty quality Jonathan Boyd s Clyde Built a brooch cast in oxidised silver is some of the most aggressively butch jewellery I ve ever seen Similarly Enya Moore s cast aluminum engraved Kitchen Tools seem almost threatening when compared to some of the daintier pieces The contrast between the more traditional crafts and the edgier examples is pleasingly balanced with a genuine feeling that there s something for everyone Another charming aspect to Forming Words and to the Centre in general is the programme of events surrounding the exhibition In the atrium of the building visitors have the opportunity to participate in ongoing community craft projects creating words out of wool in the style of exhibitor Debbie Smyth or a somewhat less successful attempt at creating a collaborative paper flower using Post its inscribed with people s favourite words While community crafts could easily fall into dangerously twee territory here they add an extra dimension reinforcing the idea that creating is something that everyone can do Forming Words makes good use of limited

    Original URL path: http://www.corridor8.co.uk/online/review-forming-words-the-manchester-craft-and-design-centre/ (2016-02-15)
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  • Review: Grayson Perry – The Vanity of Small Differences, Sunderland Museum | Corridor8 —
    his filmed research His investigation into working class British taste centred on Sunderland and hence the tapestry works have now made their way to the City Museum under the title The Vanity of Small Differences The huge tapestries six in total follow the journey of young Tim Rakewell as he climbs the societal ladder from his youth in Sunderland to his grisly death as a rich but unfulfilled bachelor at the side of the road being papped on iPhones as his young second wife looks on The series parodies William Hogarth s famous satirical work A Rake s Progress which follows the story of Tom Rakewell perhaps Tim s great great great great grandfather and updates the story to include all mod cons and bring it to a current context Throughout the works and process is a consistent pull between tradition and contemporary means from the disparate use of investigative research played out on prime time TV combined with the deeply traditional practice of tapestry weaving to the inclusion of contemporary syntax and technology in compositions based upon religious paintings of the 15 th century As with all of Perry s more anthropological works The Vanity of Small Differences revels in its own sense of social flanerie to great effect Every minute detail is carefully considered from the home décor to the dress sense of the protagonists Much like a moralistic Pre Raphaelite painting each object is coded with social meaning which perhaps can only truly be understood and appreciated in a contemporary time frame They are beautiful to look at too sumptuously coloured and resplendent in their machine crafted finery Perry doesn t mind that they are created by machine rather than hand and embraces the use of digital technology going so far as to say Google is the

    Original URL path: http://www.corridor8.co.uk/online/review-grayson-perry-the-vanity-of-small-differences-sunderland-museum/ (2016-02-15)
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  • Review: Indifferent Matter – From Objects to Sculpture, Henry Moore Institute, Leeds | Corridor8 —
    displays the gallery has placed ancient objects from the British Museum alongside early contemporary sculpture raising the question with their relativity of what is old The sculptures seem to symbolise death Untitled Placebo in response to Gonzalez Torres loss of his partner to AIDS and the Grass Cube s perspex bordered void signifies the burial plot Perhaps it is the presence of the jade burial discs protectively encased in perspex that encourages this interpretation With the exceptions of Claydon and Haacke the artists in this exhibition are all dead so their legacies as well as the works themselves are being preserved and sustained by the institution In the next room Warhol s Silver Clouds 1966 are being gently blown about Claydon s A Setting for Ambivalent Objects 2013 by a large fan up into the rarely utilised high ceiling of the space and momentarily obscuring and revealing Claydon s new work My 5 month old deftly grabs one of the helium filled polyethylene pillows and attempts to eat it now perhaps under the impression that shiny silver art is for eating Claydon s new commission seems particularly static and heavy amongst the ethereal weightless pillows He has constructed a display using a disembodied booted marble leg and the marble bust of an unidentified woman which sit in cased plinths facing each other either side of a narrow ceiling high vinyl curtain Nylon lifting slings bundled up at the bases of the plinths lie like sacrificial offerings echoing the attributed purpose of the jade discs in the other room The museum transportation and storage materials usually found behind the scenes are invited to be considered as part of the sculptural identity of the museum pieces In the odd little back room space which usually seems a curatorial challenge Robert Smithson s

    Original URL path: http://www.corridor8.co.uk/online/review-indifferent-matter-from-objects-to-sculpture-henry-moore-institute-leeds/ (2016-02-15)
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  • Review: Some Misunderstanding (on Mondegreens and Pareidolias), Castlefield Gallery, Manchester | Corridor8 —
    personal narratives from a mixture of real events misunderstandings and fabrications is universal As such this work is powerfully evocative of an innate but confounded human desire to fully understand and come to terms with our histories Also on the upper floor of the gallery are Anton Bruhin s hypnotic sound pieces with framed plain monochromatic record sleeves as a visual focus whilst a reading plays through headphones Bruhin s LP rotomotor ein motorisches Idiotikon 1978 invokes the panicked loss of meaning when a word is spoken or written too many times with the artist reciting word after word in Swiss German dialect only differing from each other by one letter Together Erdelyi and Bruhin s works act as a primer for the rest of exhibition temporarily altering the viewer s perception of history and language Some of the works selected by Tsampalla such as those on the upper floor along with Jenny Core s drawings and Ben Gwilliam s delicate tape installation invite the viewer to misunderstand becoming immersed in and directly experience the theme Jenny Core and Dave Evans works on paper and works of paper demonstrate the phenomena whereby creases and random shapes could be figurative depending on the context Evans sculptures refer to low budget sci fi scenery whilst Core uses graphite powder and chance to compose a starting point for her drawings Whereas Cory Arcangel s wry digital manipulations Dina Danish s underwater performance of I Will Survive and Denicolai and Provoost s E tutto oro 2008 expose and dismantle misunderstandings by revealing or enacting how and why they happen with jarring results The varying perspectives on and approaches to the theme can feel difficult to reconcile but on closer examination the works selected refer to each other in unexpected ways Cory Arcangel s Iron

    Original URL path: http://www.corridor8.co.uk/online/review-some-misunderstanding-on-mondegreens-and-pareidolias-castlefield-gallery-manchester/ (2016-02-15)
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  • Review: Nick Thurston – Pretty Brutal Library, &Model Gallery, Leeds | Corridor8 —
    read model is an unexpected art gallery but it feels like an old one The aesthetic of the space is worth noting White and light grey and so sixties from the white flock wallpaper right down to the chrome paneling outside Within this familiar shell the cool and serious conceptual rigor feels warm and comforting like a schoolroom from a simpler time Thurston is described as a poet though his work is perhaps closer to Contemporary art than what we might consider to be traditional literature He works with other writers such as Kim Rosenfield to push the written and spoken word in a way akin to the avant garde pushing visual language in the early 20 th century Literature hasn t moved on much since Beckett or Burroughs and the use of words in art as seen in Dada or Fluxus and a range of artworks since has done little to bridge the gap between the visual and the literary experience In this way Thurston s work can be closely associated with that of Kenneth Goldsmith who is worth looking up The texts in this library are concerned with the voice speakers speaking and the spoken So the real pleasure of these texts is located in the idea of the sounds heard or imagined when reading whether that is out loud or internally Most striking is Whäis off ßiejing by Dschon Börga a kind of German phonetic rewriting of John Berger s Ways of Seeing by Sarah Lüdemann The thrill here is in the re reading of such a familiar text and having to re tune your brain to get there I can t help thinking that they ve missed an opportunity to explore the spoken word more satisfactorily silent reading doesn t seem to be enough There are

    Original URL path: http://www.corridor8.co.uk/online/review-nick-thurston-pretty-brutal-library-model-gallery-leeds/ (2016-02-15)
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  • Interview: Evan Jones | Corridor8 —
    alternate road to modernity SP In your first collection Nothing Fell Today But Rain published by Fitzhenry Whiteside in 2003 we find surrealist references as we do in Paralogues For example in the poem How I Became one of My Poems you start with Max Ernst s Ubu Imperator 1923 and later you mention Dorothea Tanning and Leonora Carrington Does this last collection of poems share aspects of Surrealist poetry EJ Fewer formal aspects of Surrealist poetry in Paralogues Yet there s a worldview I can t ever escape from because there are Surrealists who are very important to me Breton Char Desnos whose lines I can t get out of my head often in translation but not always The Surrealists were very good at questioning the mechanics of tradition of canon of culture In that sense How I Became One of My Poems is surrealist but it is also a satire It mocks novelists literary theory the mechanisms of post modernism including and especially intertextuality SP A number of your poems such as Little Notes on Painting Portrait Artist s Model Sleeping Nude have direct connotations to the visual arts In general in a number of your poems I imagine you writing your poetry in a museum gallery or artist s studio Have any of your poems been inspired by a specific artwork Do the visual arts become the starting point of your poetry EJ Yes the visual arts can be a starting point I see a lot of similarities between poets and painters something to the necessity of skill and talent that both require They are throwbacks to another time part of traditions which are thousands of years old And they have developed together over the 20 th and now 21 st centuries One of the poems in the book is after Cy Twombly s painting Death of Actaeon 1962 63 But even when a painting is a starting point I m conscious that there is no ekphrastic poem that doesn t make me wish I was in front of the artwork The poem must go beyond the starting point or else it is just homage SP In Little Notes on Painting you raise questions regarding abstraction What is the role of abstraction in this poem and overall in your work EJ I suppose I m teasing out a truth Abstraction in the 1950s was an important reaction to the overwhelming symbolist figurative tradition that had developed in the late 19 th century and continued through the early part of the 20 th century Poetry developed similarly at the time Many of those painters began as figurative symbolists and moved towards abstraction Their thinking and understanding of tradition brought them there But God at this point am I ever sick of abstraction It went from movement to trend a sign of success but also the downward spiral SP In Portrait Artist s Model Sleeping Nude you become somehow a painter as you describe your intention to unfinished the

    Original URL path: http://www.corridor8.co.uk/online/interview-evan-jones/ (2016-02-15)
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  • Steve Pantazis | Corridor8 — | Page 2
    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 Cotton Whitworth Art Gallery Manchester Review Mike Kelley Mobile Homestead Videos Site Gallery Sheffield Review Spaceship Unbound Castlefield Gallery Manchester Review Black Sun Horizon The Royal Standard Liverpool Review Paul Becker CIRCA Projects Newcastle Newer events Older events Contact Corridor8 97 Vantage Quay

    Original URL path: http://www.corridor8.co.uk/author/steve-pantazis/page/2/ (2016-02-15)
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  • Review: Portfolio NW, The Bluecoat, Liverpool | Corridor8 —
    emigration of every local bird which plunged the community into silence The village remains in silence to this day and no one has ever returned Chesney s video interview with Gheorghe Popescu one of the only surviving descendants of the village is truly haunting as he tells of how all the birds had gone and no one could sleep The juxtaposition of the lingering camera shots of abandoned homes and dilapidated buildings as Popescu talks about the deafening birdsong before the swarms of birds left is jarring and eerie Hannah Wooll s work delivers a similar sense of the uncanny her images of skinny long haired girls hunched naked in forests are very unsettling The female figures in her work all possess the same swollen tired eyes which bore into the face of the viewer and the strange surreal monkey like mammals that crop up in many of the images contribute to this sense of warped fantasy The figures themselves are all very similar and one wonders who Wooll s muse could be Looking like a lonely fantasy princess or equally an un dead horror story heroine her portraits reference historical and contemporary depictions of women in a dreamlike and intriguing manner Lastly I found Dave Evans science fiction inspired installation work to be equally fantastic and other worldly Evans uses everyday objects and simple materials such as paper and manipulates them to evolve in order to transcend their usual perceptible identities Here Evans has created huge cylindrical shapes by hammering paper which are suspended in wooden crates to produce an interactive scene which the viewer can walk through Evans explanation of his work is at once fascinating and confusing as he references St John s Market amongst his influences yet speaks of the ambition of narrative to describe his

    Original URL path: http://www.corridor8.co.uk/online/review-portfolio-nw-the-bluecoat-liverpool/ (2016-02-15)
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web-archive-uk.com, 2017-12-14