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  • Review: Callum Innes, Whitworth Art Gallery, Manchester | Corridor8 —
    and unsettles the chronological structure the rhythm of painting Evoking an archaeology of colour the artworks unearth hidden layers deranged mixings and crooked roots of visuality For the playful viewer the one who keeps changing her his positions getting close and then away from the surface of the canvas the paintings reveal interlacing micro worlds landscapes of fibers skins of wood blurred screens Symmetrical geometric arrangement blocks of colour in harmony when seen under a closer inspection unfold microscopic landscapes of fluidity blurriness and dizziness Monochromatic surfaces even colours as foundational as white and black deteriorate into battlefields of antithesis chaos and instability Fixity is undercut by micro choreographies of impressions and counter impressions Beneath the static emerge maps of interfusions ambiguities and enigmas In order to fully appreciate the symbolic power of this contrast at this particular historical moment it is worth noting its cultural pedigrees within the wider visual culture of Britain and by the term visual we should not restrict ourselves to minimalist or abstract painting Take for example British cinema and especially the films made during a previous version of austerity period the late 1940s their main visual power of films like It Always Rains on Sunday Robert Hamer 1947 or Waterloo Road Sidney Gilliat 1945 involved vivid contrasts between surface and interiority the dispassionate reserved or dull surface of English bodies and manners was counterposed with passionate transgressive and daydreaming interiorities which were embodied in gestural visual emotional details of anxiety and disorder Setting this figurative and cinematic tradition of counterpositions against these series of abstract paintings we can now begin to understand how Innes works exemplifies not only the celebratory return of painting but also its self transformation into a contemporary cultural code By producing canvasses that look like tensed screens Innes painting appears

    Original URL path: http://www.corridor8.co.uk/online/review-callum-innes-whitworth-art-gallery-manchester/ (2016-02-15)
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  • Interview: Emily Speed | Corridor8 —
    really monumental building and I like the idea of these people with their own special construction a monument to themselves perhaps especially as the architecture will certainly outlive their bodies The small stands serve to highlight how precarious the legs holding building are The drawings also provide a contrast to the Build Up piece in a way with these private individuals shown against a small group of people who are dependent on each other but can build something much bigger if they work together Maybe it s more about the fragility of everything but especially the relationships between things and how that needs a careful balance SP These pieces together with your 2009 performance Inhabitant around Linz where you wore a costume of cardboard boxes and model houses bring to mind the performances of the Dadaists Do you share any of their goals and aspects of their art ES Somewhat although I think the appearance of my work might be a bit of a red herring there What I do have in common with them I don t agree with war for one but I wouldn t say I m anarchic or overtly political through my work in the Dada sense I love the use of humour or nonsensical things wearing a city for example to communicate an idea though and I m attracted to the surrealist or intuitive elements There is a personal aspect to my works that doesn t make that comparison an easy fit but I do enjoy the way they combined art literature gatherings theatre costume etc and the shambolic nature of events SP How did you come up with the idea behind Build Up Why are you interested in turning the film into a sculpture installation with the wooden structures projected off the screen ES Build Up began as a continued exploration of Human Castle a work commissioned for the Edinburgh Art Festival in 2012 based on Catalan Castells That commission had all happened very quickly from the first conversation to the performance so I didn t feel like it was very resolved For me the bodies were just like objects in this work imperfect elements that helped to build a structure so it seemed necessary that they were shown among other objects and supports Because of the way Castlefield work and the trust they have in artists I was in the increasingly rare situation of not having to properly describe what I was making until the last moment So this piece has been shifting right up until installing it last week It s been a real pleasure to work instinctively like that and I think the work might be better because of it SP Your work at Castlefield Gallery is exhibited together with that of Hayley Newman Do you feel there is a strong link between your practices and in particular among the works exhibited in Castlefield Gallery ES I think Hayley and I both rely on things that are anti monumental or minor

    Original URL path: http://www.corridor8.co.uk/online/interview-emily-speed/ (2016-02-15)
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  • Interview: Rosa Barba | Corridor8 —
    building as traditional cinemas do you think that this will affect the reception do you want it to RB I was always interested in fragmenting how a film can be seen in my work the viewer becomes quite active for instance in Coro Spezzato The Future Lasts One Day you are an editor as you walk through My wish is to bring research back into the cinema again with new approaches so I guess it s nice to have these things in the same house and it has actually never happened to me before LV How do you go about gaining an understanding of place and history in the different locations where you work for instance Manchester and Kent for Subconscious Society do you have a particular method RB I had quite a few weeks of research time intense research time and I had previously stayed in both Manchester and Kent for quite long periods of time I also use a lot of aerial views which has often been part of my work HH Rosa s process is very intuitive there s never a script A lot of it happens whilst shooting improvising whilst on location LV What particularly drew you to The Albert Hall with it s grand sense of decay instead of other remnants of industry in Manchester RB I liked that it has had different uses it was first a church and then it was a theatre it was a cinema in between as well and then it was used for political elections it was used for education and it was kind of reflecting a whole period of time and of memories Also striking was that everybody said it was the most haunted house in the city and it made me think a lot about the relationships between England and ghosts LV How are the two sides of Subconscious Society linked RB The idea is that they come together in a feature film later on and I m also making these publications Printed Cinema which I see is a kind of pre screening that happens in different places With these two exhibitions you could travel to both sides and I like this idea that you have to travel for a few hours to put these two parts together and so we see parts of the Kent locations here and parts of the Manchester locations appear in the film there In Kent the film is much more landscape based entering the subconscious in a meditative manner and here you are with people and in an interior space LV Could you talk a bit more about your choices to talk to people in Manchester but focus on the landscape in Kent Was this to do with what you already knew about each place RB Yes Manchester was more striking to me as a really habited area here it feels totally natural that you should meet with people Whereas in Kent it was these objects in the landscape that had

    Original URL path: http://www.corridor8.co.uk/online/interview-rosa-barba-2/ (2016-02-15)
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  • Review: Sylvia Sleigh, Tate, Liverpool | Corridor8 —
    s feminist intentions are bracingly obvious in the execution of her work focusing on male nudes Sleigh challenges the art historical tradition of the male gaze onto a female body In her paintings of both genders she presents an unintentionally witty observation on conformity and by normalising details of the body such as body hair and tan lines she fundamentally critiques the idealisation of the female body throughout art history For the audience the exhibition of forty six paintings shown simultaneously in one room produces an intimidating surrounding space the painted figure becomes the viewer and ultimately negates any sense of voyeurism and objectification The viewer is ultimately confronted with a stark reflection of human life As opposed to removing desire from the viewing experience through her crude realism Sleigh has generated a body of work that elevates her subjects demonstrating that beauty can be found in every momentary detail of the person painted and works towards the quixotic aspiration of a humanely erotic practice for the female gaze Sleigh s female gaze continues to have a significant impact upon the viewer and the formal qualities of her paintings appear poignantly relevant to contemporary art This exhibition uncovers a refreshingly

    Original URL path: http://www.corridor8.co.uk/online/review-sylvia-sleigh-tate-liverpool/ (2016-02-15)
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  • Interview: Kevin Hunt | Corridor8 —
    s a proposition to them to present a side of their work that is paired down to something simple They re quite specific works in the show that will stand with this notion that a very simple action can have a massively profound effect or repercussions JW Would you say that easy does it is a defence or advocacy of this type of aesthetic KH It s definitely a kind of advocacy of it In some ways it is a reaction against a certain type of work that I m aware is being made through shows that I ve seen over the last five years These are shows that have a collection of works that look very casual but on closer inspection are meticulously and painstakingly produced That work is kind of interesting but I feel that it is also a one liner that seems a little too obvious With sculpture there is something more that you can do with it People can remark that I like it because it took them a long time and then say to me that you ve just stacked a load of eggcups what the fuck is that But actually that process to me is a massively and profound thing JW What is it about this process that interests you KH I m really interested in the point where something becomes art What was it before this point What makes it become that thing The complicatedness in these simple gestures poses questions that can t be easily answered In my work there is always potential for something to happen I can keep objects for years that may or may never become anything For example several recent work titles have been named after magic tricks from the Paul Daniels Magic Set I ve had for years I ve got a recent interest in magic bizarrely except that s not strictly true I was massively interested in it as a child I ve come to realise more recently how everything in life is important to what you are doing lots of things that I was into as a kid now makes sense Things that a magician can do look impossible but they actually are happening either through fallacy or a trick of the eye A set of sticks can stand on their ends they can do that but they don t necessarily look like they can In some sort of way there is a connection between this and the idea of pushing something to the brink of what it can do JW The works that you recently exhibited at Castlefield Gallery as part of Tattoo City The First Three Chapters were evocative of this KH Yes The oddness of the space at Castlefield Gallery really interested me Most of my works were dispersed in difficult spaces in the gallery I really liked the positioning of my work Seeing is Believing on the landing by the stairwell and how close you could get on eye level It

    Original URL path: http://www.corridor8.co.uk/online/interview-kevin-hunt/ (2016-02-15)
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  • Review: Abcdefghijklmnopqrstuvwxyz, Peter Liversidge and Levin Haegele, Blip Blip Blip East Street Arts Patrick Studios | Corridor8 —
    selected permeates the gallery space I see legs moving in time heads swaying I hear laughter I feel that I have enhanced the mood Another track is selected it is less cheery and the mood depresses A heavy metal track is chosen people go to the bar We the audience are little machinations playing the part of jukebox welding the power of melodies and lyrics to create a mood in the gallery space In the programme I read out loud the lyrics to one of the tracks Silver Jews Suffering Jukebox taken from the bands Lookout Mountain Lookout Sea LP on Drag City suffering jukebox such a sad machine your filled up with what other people need and they never seem to turn you up loud there are a lot of people in this crowd The melancholy lyrics to Suffering Jukebox do not apply to Haegele and Liversidge s jukebox because the jukebox is no longer a sad machine Theirs is a machine with the ability to control the overall mood of the space and it is turned up loud very loud so loud that what is designed to be a background is brought into the fore and inflicts itself over how we read the rest of the artwork in the exhibition Therefore I consider Liversidge and Haegele s choice to include this quote and indeed this piece of work The metaphor is ripe perhaps the artists do not hope to make objects that impress themselves upon the viewer They do not strive to make pieces of art that act as mere décor they do not want to make sad pieces of work that people walk around passively Haegele and Liversidge s method of avoiding the sadness of the jukebox in Silver Jews song is to not really make anything

    Original URL path: http://www.corridor8.co.uk/online/review-abcdefghijklmnopqrstuvwxyz-peter-liversidge-and-levin-haegele-blip-blip-blip-east-street-arts-patrick-studios/ (2016-02-15)
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  • Review: Winter Sparks, FACT, Liverpool | Corridor8 —
    The gallery is in total darkness until a visitor ventures into the chamber where radio sensors detect movement This creates a spatial dialogue between audience and art as van der Heide encourages his viewers to explore the piece and relate it to themselves The work is deeply interactive as visitors stimulate the sparks and influence their rapidity and tessellations illuminating the gallery in a cacophony of twinkling lights Although the artist here thinks of sparks as representing beauty purity and simplicity I found myself considering issues of connection life and energy The sparks worked in sync with harsh gunfire sounds creating an atmosphere of vivacity and energy which aptly acts as a metaphor for the human nervous system The audio also contributed to the immersive experience Bosch Simons Wilberforces in FACT s atrium presents a playful twist on the Wilberforce pendulum A camera microphone and loudspeaker suspended on three separate coils hang from the ceiling rotating and bouncing in order to capture the sounds and sights of the building This footage is then projected in real time onto a screen which seeks to make sense of the chaotic data collected from such unstable circumstances This is just one in a series of music machines created by the duo which questions what is real and what is manipulated by tricks something the duo feel compelled to question in our era of mass manipulation Canadian artist and digital instrument maker Alexandre Burton completes the exhibition with his work Impacts The live sculptural installation takes inspiration from Tesla coils promoting the cohabitation of sound image and scientific processes to create meaning This piece encourages contact from the audience as the visitor s presence activates the coils into creating a display of electric art onto glass panes influenced by movement The hum and sparkle

    Original URL path: http://www.corridor8.co.uk/online/review-winter-sparks-fact-liverpool/ (2016-02-15)
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  • Review: A Universal Archive – William Kentridge as Printmaker, the Blue Coat, Liverpool | Corridor8 —
    represented by free flowing abstract lines Kentridge s exploration of complex social and political themes such as the apartheid era in his native South Africa is present in the exhibition but is equally matched here by an intense engagement with references from literary and art history For the prints in his Nose Series 2007 2009 Kentridge splices images from the literary figures who inspired Gogol to write his short story The Nose 1927 28 The ensuing prints can be read as both individual works and investigative studies A large majority of these images eventually appeared as part of Kentridge s set design for his own production of The Nose held at The Metropolitan Opera in New York in 2010 Often purchasing books from second hand bookstores when he travels Kentridge removes pages from encyclopaedias and classic literary texts to directly print on In the midst of the layering of pages single words and fractured sentences often emerge through the gaps in the dense ink The recurring characters throughout Kentridge s work such as coffee pots the cat pylons the typewriter are often printed in this style His personal relationship with these objects even conveys anthropomorphic tendencies such as the recent work Self Portrait as a Coffee Pot 2012 Aside from rich contextual subject matter what stands out in this exhibition is the sheer mastery of Kentridge s printmaking skills Effortlessly interweaving different processes Kentridge moves from small etchings to large linocuts with ease retaining the same range of expressionistic mark making that his smaller drawings and animations possess The tension between the act of thinking physically through mark making and the collaborative and considered act of printmaking is one of the most interesting aspects of the exhibition As insinuated in the title A Universal Archive is comprised of a series

    Original URL path: http://www.corridor8.co.uk/online/review-a-universal-archive-william-kentridge-as-printmaker-the-blue-coat-liverpool/ (2016-02-15)
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web-archive-uk.com, 2017-12-11