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  • Interview: Maurice Carlin | Corridor8 —
    aged and decomposed fragments of paper So yes there are elements of the contemporary and ancient within both the process and what it yields I am interested in the historic reference to the stone rubbing technique as I think of this point in history as being the birth of DIY publishing the first known time that information was able to be copied and distributed fast forward 2000 years and we have the internet SP Getting in the warehouse viewers can see your prints and you performing working on their production from an upper level I have the sense that you are trying to create a live image of the artist working in his studio which in this case is the exhibition space Is this your intension Can viewers have access to the same level where you work and become also part of the artwork MC In my work I am broadly interested in considering the place an artist s work might occupy in the world In the recent past I ve tried to explore this through shifting my studio into public spaces making an earlier series of these relief prints on Market St a busy pedestrianised shopping street in Manchester to passing and incidental audiences I ve also been interested in a genre of painting from early 17 th century Northern Europe where artists for the first time depicted themselves at work in their studios in highly choreographed scenes intended to put forward an image of themselves as thinkers and scholars rather than the artisanal image they wished to make a break with SP Why is it so important to record the process and have it live on your website MC Whilst we would normally think of there being a space of time between the production and the presentation of a piece of work in this process that gap is diminished to close to zero the webcam allows for the image to be produced and published almost simultaneously I m interested in this dynamic as I believe that this is where we are headed with faster internet connections and the possibility to live stream our lives I read recently that 1 1 million photos are taken and shared within 60 seconds each day in Britain so it seems that images are taken primarily to be distributed rather than looked at this seems like an interesting development SP The goal of your project is to document the whole floor of the warehouse And again viewing the work from the upper level of the warehouse the final image will look as a large collage of abstract and colourful prints This large picture will be fragmented as the floor will be broken down into different prints which each of them holds the history of the space Are you interested in stressing out the fragmentation of modern society MC I held off on having a final goal before embarking on the project This is partly to do with the fact that I want the

    Original URL path: http://www.corridor8.co.uk/online/interview-maurice-carlin/ (2016-02-15)
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  • Review: Processing, Cornerstone Gallery, Liverpool | Corridor8 —
    featured in the Processing newspaper Karanka s observation of the oppressive environment depicted in Casey s photographs the futuristic yet obsolete elements result in a sense of apprehension and unease something that Casey certainly captures in the images The medical functionality of the hyperbaric chambers is also discussed and during an interview with Kevin Casey where he describes how this project investigates and communicates his father s experience since his father had sessions in a hyperbaric chamber on returning from long hall trips on offshore oilrigs boats and as a diver Although seemingly polarized from the restricted environment depicted in Casey s photographs the impressive panoramic landscapes in Triangulation by Stephen McCoy and Stephanie Wynne also have rigidity in their process Triangulation series is a continuing five year project to visit and photograph all 314 Primary triangulation points which were built and measured between 1936 and 1962 by the Ordnance Survey for the retriangulation of Great Britain to improve the exactitude of map making Writer and journalist Kenn Taylor supplements the project with a written essay articulating the processes and ideas guiding the project The project highlights the challenging nature of the landscape and the endeavors to in a sense apprehend it through monitoring and map making The notions of outmoded systems like in Chamber are also referenced Although the images are striking and beautiful the trig points determine the photographs position and therefore eliminate aesthetic judgment Consequently principles of what constitute a good photograph which usually are largely influenced by cultural and educational background and compositional choices are diminished Lastly the exceptionally motivating work of Stephen King From Here to Here explores the concept of the desire path examining the relationship between the individual and the substructure of an urban environment King documents the anarchic indeterminate paths created over

    Original URL path: http://www.corridor8.co.uk/online/review-processing-cornerstone-gallery-liverpool/ (2016-02-15)
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  • Review: Richard Taylor – COLLIDER, Mexico Project Space, Leeds | Corridor8 —
    wall Around the corner is hanging strip light a scrap of tinfoil on the wall and a semi scrunched up paper bag resting on the floor Something has changed Not everyone has patience with work that relies on found items like this I agree it can feel mute and at worst looks lazy but I find value in the bricolage of found and manipulated items Materially there are some great touches the obvious example being the scrunched up insulating foil poised like interplanetary explosions gently turning in the warm air and catching the light or the small strangely painted white clay balls The overall effect is a bit confusing though Is it meant to look like it all tumbled out of the empty casing of the chest of drawers or that someone arranged it just so Where do these objects come from What is this stuff DOING There are domestic collisions all over the room between furniture and an unseen arranger the artist It looks like the personality of the show has broken down and the artist has regressed beyond reach The first room resonated with a subtle interaction between the artist curators and ultimately the viewer The second room is more difficult to read Within both rooms are elements of exquisite beauty and extreme banality However the sense of curiosity inspired by the first room soon becomes frustration in the second half Font that could easily push a viewer over into indifference You could call this work esoteric there are stories behind some of it that are not revealed and I only know this because I asked But it could be these back stories that are giving me problems I was really getting into the piece with the gloves and out of sync clocks Dogs or Kids until I

    Original URL path: http://www.corridor8.co.uk/online/review-richard-taylor-collider-mexico-project-space-leeds/ (2016-02-15)
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  • Review: Dan Graham – Past Future Split Attention, Manchester International Festival | Corridor8 —
    In its new incarnation for Manchester International Festival an Irishman and an Englishman who in casual shirts and skinny jeans looked as if they could have stepped in from the queue outside walked into a room stood and faced each other awkwardly eyes half on the floor and began to make observations about themselves and each other Making an unlikely piece of theatre out of real people instructed to improvise the exercise without rehearsal these observations variously analysed and expressed regret about past private actions and thoughts picked up on barely perceptible mannerisms hardly registering in the present and at times appeared to predict the future looking ahead to influence each other s actions Creating a trick of perception in the viewer s experience of time the performance relied on the snap reactions of one performer to the other working not with each other nor against each other but opposite each other to continue the flow Sometimes there was a surge in the conversation with observations overlapping and intertwining but watching the exchange was often a discomforting experience As the performers occasionally grasped for words the audience was left outside the ongoing conversational figure of eight without so much as eye contact directed their way Occasionally referring to agents outside the conversation such as girlfriends it was unclear what if any prior relationship existed between the two participants blurring the boundaries between fact and fiction depth and superficiality and striking an uneasy balance between the performers ability to draw on a wealth of background knowledge and to think on their feet Against a twenty first backdrop of reality TV and constant life sharing on social media the performance restaged questions about how well you can really know someone how well you can ever get to know yourself how much the

    Original URL path: http://www.corridor8.co.uk/online/review-dan-graham-past-future-split-attention-manchester-international-festival/ (2016-02-15)
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  • Review: Some Recent Examples, Sevendale House, Manchester | Corridor8 —
    lines with one of her felt tip pen line drawings this one in vertical greens and blues Sandwiched between these colour parallels is a 3 piece Spandex assemblage by Jo McGonigal entitled Dirty Orange The two smaller flesh coloured Spandex pieces have been dipped in luminous orange paint There is definitely a colour matching theme going on here Laid out on the floor opposite Dirty Orange is an amber glass fragment organic form by Nicola Ellis It sparkles under the spotlights like semi precious gems in one light like dried bloodied mucus in another Just as colour matching seems the order of day line and mark making affinities materialise Adjacent to Chua s aforementioned Blue Green hangs a series of graphite drawings by Mary Griffiths The inscribed graphite is in geometric parallels of modernist simplicity titled Loft Covered Way and Accumulator suggestive of architectural designs plans for something Maeve Rendle s video Mabel s Voice has a similar focus on arrangement The video image appears constructed or considerately framed and a simple piano melody plays moderato Jo McGonigal s framed Horizontal Fold 5 and Carbon Drawings laid out along a table are similarly simple placement variations of singularly folded carbon sheets Experiments in print processes using traditional materials are explored by Tiago Duarte and Mary Griffiths Tiago Duarte s The Varnishes are monotype prints of varnish The whole surface has been applied with varnish as opposed to where ink is to be stopped and passed through a press The result exposes the quality and variation of the materials under these conditions Mary Griffiths has covered a slight concavity of flooring with graphite entitled Black Lead Without a handout to denote a piece of work you first become aware of it as a change in surface underfoot In the spotlit grey

    Original URL path: http://www.corridor8.co.uk/online/review-some-recent-examples-sevendale-house-manchester-2/ (2016-02-15)
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  • Review: Nikhil Chopra – Coal on Cotton, Whitworth Art Gallery, Manchester | Corridor8 —
    the fabric billowing around him in picturesque folds For the first part of the performance Chopra had to drag the material into the Whitworth s unfinished landscape gallery in character as an Indian cotton farmer but I caught him at a down moment The unfinished bones of the landscape gallery were eventually dressed in a cotton shirt tent creating a distinct and specialised space inside of which Chopra began work on a cityscape drawn in coal depicting modern buildings but black smoke billowing from the chimneys Chopra had developed three characters altogether and once his stint as a cotton farmer had finished he became a mill worker and finally a dapper businessman As this was a durational performance that visitors were invited to drop in and out of I had wondered how necessary it was to be present and for what amount of time Having witnessed almost the beginning I was planning on making it back for the end of the performance and through the wonders of social media could vicariously follow the reactions of other visitors throughout From the pictures and comments shared live it was clear that those who were able to commit to spending a significant amount of time with the performance or to returning repeatedly throughout had a deeper experience as physicality and incremental transformation emerged as crucial aspects The final hours of Coal on Cotton were ceremonial with visitors voluntarily forming processions behind the artist as he performed his final actions and a sense of observance was intensified by the bound roll of fabric lying like a body in the Whitworth s foyer along with flowers and tins In his final incarnation Chopra dressed in an emerald green suit looked on and directed workmen as they hoisted his intricate coal drawing up on to the

    Original URL path: http://www.corridor8.co.uk/online/review-nikhil-chopra-coal-on-cotton-whitworth-art-gallery-manchester/ (2016-02-15)
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  • Review: Mike Kelley, Mobile Homestead Videos, Site Gallery, Sheffield | Corridor8 —
    opposition to the surrounding metropolitan architecture Mobile Homestead s otherness exists as a statement about and symbolical reversal of the so called white flight that divested the city centre of its white population in the late sixties Through this symbolically loaded structure and the accompanying videos Kelley confronts the totemic ideologies and reflexive myth making which are a deeply internalised component of American national identity deconstructing its mainstream cultural signifiers and exposing the contradictions that are part and parcel of the Janus faced American dream Kelley s version of the suburban home subverts the symbolic power of this architecture and its connotations of status affluence stability and family life What at first glance appears to be an exact reproduction of the original Mobile Homestead is in fact a sinister double with a cavernous two storey basement lurking beneath its benign exterior These notions of unheimlich are reinforced by the mobile section of this home crafted by an incision across the face of this residence which literally tears apart the family home to make an independent unit Made mobile by way of a rolling chassis this ruptured façade is emancipated set free to travel into the community The documentaries accompany the Mobile Homestead as it embarks on its maiden voyage down Michigan Avenue out into the suburbs to meet its progenitor and back again a circular performance of escape and return The journey is both physical and psychological parodying pioneering the prodigal son and that quintessence of American mythmaking the road movie Like that well known genre the films offer unique personal encounters formative experiences and space for reflection Coasting down wide boulevards on this long arterial route often to a blues rock soundtrack Mobile Homestead enters into a dialogue with the modern city making pit stops at small businesses roadside

    Original URL path: http://www.corridor8.co.uk/online/review-mike-kelley-mobile-homestead-videos-site-gallery-sheffield/ (2016-02-15)
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  • Review: Spaceship Unbound, Castlefield Gallery, Manchester | Corridor8 —
    of Atwood s novel in its makeup works by female artists dominate the exhibition loosely linked by ideas of ecology science activism and mysticism Hybridity and the feminist cyborg aesthetic of Donna Haraway feature prominently Anne Marie Culhane s Corn Dollies documents an action by a group of female performance artists including Culhane herself outside the Houses of Parliament in reaction to a debate around genetically engineered crops Their faces obscured by masks of corn the women become unnatural hybrids themselves both animal and vegetable Embracing hybridity turning it to one s own purposes becomes a valid reaction in the face of the new bio ethics At the heart of the show is Sam Meech s film Noah s Ark a retelling of the Biblical story using found footage from the North West film archive Engaging with the more broadly religious themes of The Year of the Flood this work is presented in symbiosis with Cyclevision a design by the Hackspace Manchester collective In order to view the film one must first power it by generating electricity on a static bicycle The presence of Hackspace throughout the exhibition reflects the influence of the Gardeners the collective uses recycled objects and human ingenuity to create ecologically sound works that propose a new sustainable mode of artistic creation Spaceship Unbound raises potentially useful questions about the relationship between art and the environmental crisis Do artists have a responsibility to work in a more sustainable way Can art and activism exist in a simple or mutually beneficial relationship What strategies are available to artists working in the looming shadow of the crisis Sadly I left feeling like these issues were not addressed in any depth by the exhibition itself Worse I felt that without Atwood s novel to contextualise the works the show

    Original URL path: http://www.corridor8.co.uk/online/review-spaceship-unbound-castlefield-gallery-manchester/ (2016-02-15)
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web-archive-uk.com, 2016-10-26