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  • Review: Nike Savvas: Liberty and Anarchy, Leeds Art Gallery, Leeds | Corridor8 —
    Her vision drove the proceedings The result Anthem 2006 Is That All There Is was the visual transcription of a song according to the artist s idea of it and not a computer s 2 The assembly of Liberty and Anarchy at Leeds Art Gallery took three technicians at least ten days working flat out Technicians aside one might ally Savvas with other artists currently working in a craft based mode At the gallery s In Discussion session Savvas with Patricia Ellis one questioner understandably asked why she didn t make more use of computers The same question Dave Black s friends asked Ellis cut in with Nike doesn t even have a mobile phone It s true Artist and Leeds Art Gallery Assistant Fred Pepper told me about three mathematicians who came to see the show They were entranced by the Sliding Ladder pieces 3D geometrical constructions some very large with wooden frames tightly strung with brightly coloured woollen thread They analysed the geometry the beauty They knew the maths Savvas had used to design them Pepper some mathematicians and say molecular biologists see the world in a way that is almost religious There is what you could call a non specific spiritual ecstasy some people get from seeing formulae or geometric forms or just a really nice egg Savvas s comment was so their being based on maths doesn t make them bad after all What in fact makes them good is their ability to refer to so many things at once I saw in them ideas about sculpture and home crafts They examine craft which might be said to glorify technique and they connect art and a discipline maths which tries to unravel reality Liberty and Anarchy is a large and simple labyrinth the high walls of

    Original URL path: http://www.corridor8.co.uk/online/review-nike-savvas-liberty-and-anarchy-leeds-art-gallery-leeds/ (2016-02-15)
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  • Review: Love in a Cold Climate, S1 Artspace, Sheffield | Corridor8 —
    century Britain in particular the 1970s and 80s which of course were crucial periods shaping much of Northern England Playing upon Sheffield s well rehearsed cultural iconography selected artworks deal with radicalism socialist politics class issues protest and civil unrest drawing heavily on turbulent movements outsider groups and popular causes such as Billy Bragg s Red Wedge campaign the cult of David Bowie punk rock music ephemera and the brief yet dynamic Vorticist group linking back to the show s overarching motif of energy Tufnell weaves together contemporary and historical works suggesting a continuum from then to now and his acute interest in British popular culture of this period is shared by many contemporary artists from Jeremy Deller to Scott King whose work Ziggy Stardust Tour 1972 2008 tracing the legendary concert across Britain also appears here Nearby Jamie Reid s original campaign posters from 1987 yet more cultural ephemera serve as seminal socialist reference points bearing witness to miners strikes and Labour party campaigns which used light both as a metaphor and a political bargaining tool Light its effect its energy and the way in which it can work suggestively on the psyche is explored here in multiple forms Mandla Reuter s subtle light configurations which randomly interrupt the gallery lighting system like slow motion disco lights left over from the party variously bathe the visitor in light or cast darkness over the space Similarly Anna Barham s A Splintered Game 2008 lying flickering on the floor wires and circuitry exposed as if torn from the ceiling casts a cold glow on the grey floor giving that sense of social abandonment even greater acuteness Hannah Rickards Some people say they think it sounds like aluminium foil but aluminium foil to me is not the sound 2007 provides the only

    Original URL path: http://www.corridor8.co.uk/online/review-love-in-a-cold-climate-s1-artspace-sheffield/ (2016-02-15)
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  • Review: Harold Offeh: Pinatopia and Mount Folly, Temple Newsam House, Leeds | Corridor8 —
    the king of fruit were grown in Temple Newsam in the 18th century Large quantities of fuel and constant labor were required to attend the firewalls that enabled the pineapples to grow The fact that these fruits were so exotic and difficult to grow meant that they were a symbol of wealth and power This is a symbol no longer recognised the pineapples presented to the spectators during the performance consciously left with their 1 price labels still attached The hedonistic finale of Harold s Mount Folly directly responded to the site of Brown s temple folly which was not only a vantage point to view the house but a space of decadence debauchery and transgression This use has been copied down the centuries evident in the contemporary mistreatment of the folly which is graffiti covered dilapidated and fenced off Harold s Pinatopia and Mount Folly were produced by The Follies of Youth a group of young producers set up by visual arts commissioning organisation Pavilion to research the heritage of Temple Newsam and run creative activity to engage youth groups and local people in East Leeds The Follies of Youth chose to collaborate with Harold who had previously intervened in the 17th century gardens at Ham House creating an installation and performance based exhibition which activated the history into a live walking talking spectacle There were two crucial points in The Follies of Youth s research first being the visit to the hot houses which implemented an ongoing debate and discussion due to the notion of labor costs class divides colonialism and the exaggerated displays of wealth that stately homes imposed on others second being Stanley Kubrick s Barry Lyndon 1975 recommended by Patrick Eyres of The New Arcadian Journal We invited Patrick to watch the film with us

    Original URL path: http://www.corridor8.co.uk/online/review-harold-offeh-pinatopia-and-mount-folly-temple-newsam-house-leeds/ (2016-02-15)
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  • Review: An Arrangement In White, XO, Leeds | Corridor8 —
    the boundaries begin to blur and shift and the immersive environment becomes hostile and alienating The floor also painted white to match all of the other surfaces becomes a symbol of repression you can imagine the effort made each day to scrub away the build up of dirt from everyday life the everyday life that the whiteness tries to expunge from this space dedicated to the act of contemplation The exhibition itself seems to have a haunted ethereal quality to it the subject of death emerging at regular intervals through pieces such as David Steans The Lord Cufflington Jay Cover s Limbo Garry Barker s Ghost Mower and Rachel Westerman s Replacement Elsewhere in I wouldn t Say I was Religious by Jack Fisher the ubiquitous Apple Mac is laid to rest The omnipresent logo that signifies most contemporary artist s tool of choice is unceremoniously buried the first note of the start up sound playing over and over and over stuck in an eternal loop forced closure forced re animation The points at which the show s theme emerges with clarity are the points at which the artists take either a playful or oppositional stance Graham Gussin s Dark Corner questions the notion of an exhibition that is more referential of the space that has been created to examine itself rather than the work that would inhabit it a supersaturated black corner that is so subtle as to almost be missed yet is completely Spinal Tap in its blackness When you do eventually notice it the nature of its surface becomes difficult to understand is it flat or hollow does it stick out why is it there at all a cipher to be interpreted within the rules of the show Simon Boase takes the playful angle by presenting the

    Original URL path: http://www.corridor8.co.uk/online/review-an-arrangement-in-white-xo-leeds/ (2016-02-15)
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  • Interview: Hayley Newman | Corridor8 —
    in Emily s work reveals protects fragility while my own work is political critical imaginative and fragile at the same time That might be a good place to start the comparison SP Is your new work Domestique consisting of over fifty donated used dishcloths with embroidered faces exhibited at Castlefield Gallery connected to your 2012 performance Facing at Cornerhouse Can Domestique be considered as the documentation of your performance What do these dishcloths signify to you HN I started embroidering the dishcloths a few years ago there are over seventy by the way Then I made the performance Facing at Cornerhouse after which I continued sewing the dishcloths again The performance was part of my process of finding out more about the work In the performance I animated the cloths in front of my own face bringing them to life I don t see the cloths as documents of that performance but entities in their own right The dishcloths operate on many levels they are both a critique of invisible labour domestic and industrial and expressive representations of faces animal and human SP In the video of your performance Night Life of the Jewellery you are in a jewellery shop where you are trying on all the jewellery from the window display In this performance and similarly to others of yours transformation of your own body self takes place Why are you interested in using your own body for transformation instead of others Is this a mental and spiritual transformation and not just a physical one HN I don t generally deploy other people in my work I am certainly interested in the potential of live work to be transformative and how the body one s own or someone else s might help that happen There is always some sort of transformation in a performance even if the performer is doing nothing they are doing nothing over time and that becomes something SP Your new work Façadism whose title has been inspired by the architectural phenomenon of demolishing a building while preserving its façade isa photocopied book of short stories Why the stories are only about face Will the future entries to the book only concentrate on stories about faces Can the public contribute a story HN Façadism is a photocopy facsimile of an unbound book with no page numbers It could potentially include a limitless number of stories about faces just like Douglas Huebler s proposal to photograph the existence of everyone alive This work comes out of an interest in psychoanalysis and ethics the face and the other I see writing as an important part of my practice as an artist and as such this project is not set up to enable other people to contribute their stories SP Is this piece connected to Domestique HN Yes Façadism Histoire Économique and Domestique are all connected and not only by their French sounding titles All the works are about façades whether that is the façade of a building a

    Original URL path: http://www.corridor8.co.uk/online/interview-hayley-newman/ (2016-02-15)
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  • Review: David Maljkovic: Sources in the Air, BALTIC, Gateshead | Corridor8 —
    semi permanent equipment in the interior tripods pop up screens a tarpaulin that he is interested in the mechanics of presentation and particularly concerned with methods of screening and the experience of projection In its rather cluttered layout Sources in the Air makes for a disruptive and vaguely unsettling viewing experience A myriad of projected works sculptural pieces and a further room within a room all act as works in their own right but with an interconnecting aesthetic appeal bound together by pulsating soundtracks and the persistent whirring of projectors into one big tableau Much inspiration is taken from his home environs of Croatia and a key work in the exhibition the Scene for New Heritage trilogy focuses in particular on the Petrova Gora monument a futuristic WWII memorial that now lies derelict The trilogy is screened into a sort of constructivist stage set and follows a group of young people on a pilgrimage to the monument in the years beyond 2045 where they discuss its potential via guttural Croatian folk singing Watching this film series the viewer takes on the role of time traveller as all grasping of time tense and heritage is merged and reworked As more time is spent in the exhibition the initially intensive atmosphere takes on a more melancholy tone There is a running theme through the works of potential never realised in particular through utopian design A notably striking film Out of Projection is shot at the Peugeot headquarters and depicts retired workers slowly moving around test tracks in nostalgic black and white footage Futuristic automobile designs destined never to be put into production are pushed around by mechanics or just stand still In one gently moving scene the elderly workers cling to each other and sway perhaps a human reaction to the failure

    Original URL path: http://www.corridor8.co.uk/online/review-david-maljkovic-sources-in-the-air-baltic-gateshead/ (2016-02-15)
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  • Interview: Anna Barham | Corridor8 —
    on mainly in preparation of the events Then I m testing things out because what I want to do ultimately is make a new video work So this points to projection is a little snippet The letters are meant to appear on the screen in correspondence to where they appear in the soundtrack This passage was taken from the Brian Rotman book It is projected on its side because I m more interested in the rhythm of the piece than in the viewer being able to read it easily LG That s interesting because knowing what words might be being said seems less important than something else perhaps you could say it s an aesthetic reaction AB Yeah maybe I m thinking of a Marshall McLuhan book we read in the second week The Gutenberg Galaxy which Rotman draws a lot from The position is that we ve disembodied ourselves the written script privileges the eye and creates this very ocular society The culture that we live in the invention of perspective has come through that I feel that that is true we do live in a visually biased culture and I think a lot of the work that I make tries to disrupt that and bring back some other kind of pulse or a different way of looking with your eyes not the gaze but the flicker or to highlight sound LG I guess that leads on to the main video piece We are looking at an animation of what looks like the inner workings of a mouth It looks like it could be your mouth it is very female looking and I wondered if you had scanned your own head AB laughs People have said that No she is generic I was interested in the idea of a mouth and in speaking I do live readings from things that I have written and often because I write using anagrams they are quite hard to read very unlubricated in a way and it feels like I m chewing the words It is a physical effort to speak it That made me think about how in general it is amazing mechanical apparatus and the control that we have over it so seemingly automatically you can just say what you want you don t have to think about how to open your mouth or where to put your tongue Also mouths can be really erotic or really grotesque and disgusting I was quite keen to emphasise this sensuality of the mouth That s why I chose that particular model I found her face to be sufficiently soft and alluring LG You are interested in words and language and the way that those things correspond to the sounds that represent them and perhaps the world that they represent You use an example from Plato s Cratylus AB Yes really weather those things have relationships So do those sounds represent the world In the Cratylus the discussion is about whether language has an

    Original URL path: http://www.corridor8.co.uk/online/interview-anna-barham/ (2016-02-15)
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  • Interview: Prof. Alex Coles and Dr. Catharine Rossi on EP | Corridor8 —
    something in between a magazine and art journal are you trying to open up EP to a wider range of readers What is the gap you are trying to cover AC A key objective is to introduce a new platform that can experiment with different types of writing about art design and architecture from the relatively academic text replete with footnotes through to the short caption and the informal interview A further objective of EP is the issue of readership One of the reasons why most academic journals have such a limited readership is because they seldom consider their own design Have you seen all of the design journals that Berg or Oxford University Press do No one who is active in the field of generating contemporary design would want to read them let alone be in them Compare these publications with almost any of the publications that Beatriz Colomina included in her Clip Stamp Fold The Radical Architecture of Little Magazines 196x 197x Actar 2010 and the point becomes crystal clear With EP it was important to produce a publication that practitioners not only historians and theorists from art architecture and design will want to read SP Are you planning for each volume to announce a theme and accept writers submissions or do you already have certain writers in mind AC One of the reasons that most academic journals are so uneven quality wise even if they have an amazing star studded advisory board and editorial panel is because they are premised on open call submissions Breaking with this tired method that academic journals use was crucial At the same time retaining the more potentially engaging aspects of the format of academic journals like having an editorial advisory board and avoiding the pressures that come with accepting advertising was key SP How will EP work AC Each volume of EP will be co edited by me in conjunction with a specialist on the particular thematic under investigation Catharine Rossi was perfect for the first volume because while being an academic with a PhD on post war Italian design from the Royal College of Art Catharine also has her own blog and writes for magazines like Domus and Disegno So here was the movement between different registers of writing and different platforms and vehicles for writing I was looking for all in the one person SP Why have you decided in your first volume to concentrate on the Italian Avant Garde and in particular on the period 1968 1976 Do you feel that Italian art design and architecture receive limited exposure outside of Italy Catharine Rossi The years 1968 to 1976 were guided by a connected set of socio economic cultural and political conditions to which architects artists designers and other practitioners responded in similar ways from the radicalisation that comes in 68 and the strategies that follow in its wake to the frustrations that arise as its utopian ideals fail to come to fruition While this period has been

    Original URL path: http://www.corridor8.co.uk/online/interview-prof-alex-coles-and-dr-catharine-rossi-on-ep/ (2016-02-15)
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web-archive-uk.com, 2017-12-12