Capability Funding Bidding Form 2008/9
Transcription
Capability Funding Bidding Form 2008/9
Place and Time An exhibition by members of the A.P.T. (A Place in Time?) Research Group Avenue Gallery The University of Northampton 11 January – 8 February 2013 Place and Time Avenue Gallery The University of Northampton 11th January to 8st February, 2013. Preview: Thursday 10th January 6pm-9pm. This exhibition comprises of works by members of the research group A.P.T. (A Place in Time?). Exhibiting members: Professor Sebastian Blackie Susan Bonvin & Andrew Eden Christina ten Bosch Ben Baal-Bowdler Desmond Brett Gail Dickerson Kelly Gardner Spencer Graham Tom Hackett Hitomi Kammai Graham Keddie Gary Price-Hunt James Steventon The A.P.T. research group is made up of artists involved in research within and across different areas of fine art practice including ceramics, film, installation, painting, photography, print, sculpture and sound. A.P.T. has engaged with the relationship between the words place and time, and place and time orientated art practice by exploring the multidimensional potential of the question A Place in Time? Current members include: Graham Keddie (founding member and committee chair), Spencer Graham (committee member/website), Susan Bonvin & Andrew Eden, Gary Price-Hunt (committee member), Professor Sebastian Blackie, Desmond Brett, Gail Dickerson, Christina ten Bosch, Ieuan Ward, Tom Hackett, James Steventon, Kelly Gardner, Hitomi Kammai , Saba Hasan and Ben Baal-Bowdler. http://aplaceintime.info/about/ Ben Baal-Bowdler I am a musician who writes electronic music. Working alongside Kevin Ford, I record under the names Loop Theory and 7inch Thugs, and solo as Phat Knacka, Baal and 3B. Further information and music can be found at: www.soundcloud.com/10000leagues and www.10000leagues.com I am interested in the use of analogue and digital instruments to create aspects of sound whether musical or not. Recently I have been exploring the use of found sounds to manipulate into new forms. 1000 sq ft of Sound The sounds that form the structure of the piece were collected from several locations within the postcode E16 2RD on the 3rd February 2012. Sourced from exterior and interior settings the sounds were recorded, edited, manipulated and arranged to create an immersive sound environment. Equipment used Zoom H2 recorder Apple Mac Ableton Live Logic Remind 95 In 1995 Kevin Ford and I worked on a soundscape for a group of Performance Artists that was not completed. The core of the work featured sounds created by electric guitar using a number of guitar effect pedals and implements such as chains, coins and other items. Recently the original C90 cassette tape was discovered with the guitar sounds. These recordings have been edited and mixed into a new form that is essentially both old and new. Equipment used Original recordings: Charvel Charvette electric guitar Various metal and wooden objects Rocktek MWR-01 Metal Worker distortion pedal Alesis Multiverb effects rack Tascam 8 Track recorder TEAC cassette recorder 2012 edit: Apple Mac Ableton Live Improvisation 1 and 2 The idea was to explore using a simple set of melody lines played on electric guitar that are fed through a number of effects pedals to create ambient soundscapes that focus on the use of harmonic sounds and delays that are produced and their relationship to each other. Equipment used Westone Thunder 1A electric guitar Native Instruments Guitar Rig Ebow Ableton Live Apple Mac Professor Sebastian Blackie HLS no 13. Porcelain red clay garden ties HLS Nature Carpet. Porcelain red clay cling film HLS Absent Herbarium. Porcelain cling film Clayscape: A ceramic research project by Sebastian Blackie Clayscape is a phenomenological exploration of landscape representation using a number of contested sites in the East Midlands. The Huntingdon Life Science series is made with porcelain tiles in which wild plants, gathered from the perimeter fence of the animal testing laboratory, have been pressed. When fired the minerals, specific to the location and ingested by the plants, combine with the clay to form a very thin glaze. Some of the impressions are inlayed with red clay also gathered from the site but re-fired at a lower temperature. The tiles are joined to form ceramic ‘carpets’ that represent our ambiguous and hierarchical attitudes to nature and culture as well as to concepts of the natural and the synthetic. Some of the ‘carpets’ are framed by tiles inscribed with text taken from the extensive documentation of the site; others present skin like textures that evoke both the companies notorious testing of cosmetics and pharmaceuticals as well as, more widely, our understanding of boundaries and barriers. Bonvin & Eden Street Corner with a Lamp Post 1 2012 max. dimensions 172 x 114 cm four panel painting in pigmented epoxy resin Deptford Series, 2012 Our approach to making work is to focus on a location, and to collect drawings and photographs which we develop in the studio. The record of the topography is unimportant, but the drawings provide unpredictable combinations of visual elements and chance insights into the character of the contemporary built environment. We have generally chosen locations from the new towns, such as Milton Keynes, or the landscapes of roads and edge of town developments. For this series, the selected location was the exit of Creekside, Deptford onto the A200. Here a new block of luxury flats was under construction, visible above older buildings. The glass and metal of the new flats reflected the sky and the trees of a nearby pocket park. This led us to exploit the natural transparency of epoxy resin, which was our chosen medium. Additionally, we applied a high gloss finish to the panels to accentuate the reflective/refractive nature of the building under construction. Vertical features, such as streetlights, appear to interrupt and divide the landscape. Christina ten Bosch Time and Place Medium: Film The film exists as a simple record of a brief spell of time in a specific yet anonymous place. The deliberate omission of obvious points of reference relieves the viewer of any predefining burden of knowledge could otherwise hinder submission and disallow the freedom to explore and interact with that non-time and non-place. Desmond Brett 'The Keeper' 2009-2012 Found object & photographs. The Keeper. A repository of events. A memory bank. Gail Dickerson ‘Oxidation II’ Nine Prints Beginning of the year Six of the prints at the end of the year Metal such as copper, brass, iron and aluminium, were left to oxidize on paper over a period of a year. Familiar bits and pieces were used such as parts of computers or plumbing, sometimes galvanised, or plated with chromium or cadmium, or steel coated in brass. Finally the objects were removed and only a trace remained left as a print on the paper. Familiar objects are seen out of place and broken down more into their raw elements. Kelly Gardner Baby Dress 3 Baby Dress 4 Photograms 60x50cm My work is concerned with time and memory, traces and absence. I use textiles and found garments to convey these ideas; fragments of lace and imprints of garments evoke traces and residues of lost and forgotten things. The memories we hold are fated to become selective, fragmented and faded, so this work is in part a reflection of the need to capture and preserve the memory through the use of the ‘keepsake’. I make photograms from garments by placing them on light sensitive paper. I use chiffon and transparent garments, christening gowns, nightdresses, slips and gloves - antique flea market finds. I capture the ghostly trace of them. I am interested in the sense of absence and also the trace of a human presence that is left behind. These clothes are those residues, the husks of lives. Spencer Graham Pressing Detroit 2012 Pressing Detroit 2012 is essentially a kind of “listening station” not dissimilar to the set up you might find in an independent record store. All records included as part of the installation were pressed and/or released last year and include the word Detroit either in the titles of the records themselves, within featured track titles or as part of the recording artists’ names. These records are shown along with a turntable, amp and headphones. It is hoped that through the act of listening to the said records and/or studying the associated artwork on the sleeves/labels, visitors to the exhibition will consider the significance of Detroit as a place of diverse cultural production and as a specific point of reference to outsiders* for myriad reasons. The auditory emphasis within the installation, together with a specific focus on the word Detroit, deliberately steers clear of the tired “ruin porn” images that are currently so often used to depict the city. On this point it is interesting to note how the records are housed in plain sleeves or feature artwork that does not include such visual clichés of urban decay. * e.g. Detroit Swindle are from Amsterdam The following records form part of the work Pressing Detroit 2012: Luca Ballerini & Rio Padice, Never Mess La Cricca, Waxjam, 2012 includes the track Detroit Bazaar (track B1 – although there is no tracklisting on the cover, label or run out groove area) Faruq Z. Bey 4et, Live at the Detroit Art Space, Sagittarius A-Star, 2012 Blodfet & DJ Lonely, From Tuscany to Provence, Börft Records, 2012 - includes the track Detroit is tuff, but so are we, sweets Dale Earnhardt Jr. Jr. We Almost Lost Detroit EP, Warner Bros. Records Inc., 2012 Detroitrocketscience, Detroitrocketscience Vol 1, Detroitrocketscience, 2012 Detroitrocketscience, Detroitrocketscience Vol 2, Detroitrocketscience, 2012 Detroitrocketscience/Kuba Sojka, 22.300 miles above Neo-Detroit, Minimalsoul Recordings, 2012 Detroit Swindle, B.O.S.T.O.N., Murmur Records, 2012 Dilla Dog, Dillatroit, Ruff Draft Records, 2012 - includes the track Detroit Madness Dimension, Digital World/Detroit (Ft. Cyantific), Cyantific Music, 2012 The Evergreens, The Green Folder, Terpsiton, 2012 - includes the track Detroit Evening Kemetrix, Soulwerkz Detroit Presents: Soulbrother #3, Pomelo Records, 2012 Fela Kuti & Egypt 80, Live in Detroit 1986, Knitting Factory Records/Strut Records, 2012 Optic Nerve, Detropolis EP, Puzzlebox, 2012 - includes the track Detropolis (Detroit Vocal Mental Mix) Professor Inc. Natural Evolution EP, Rue De Plaisance Records, 2012 - includes the track Detroit Baby Karriem Riggins, Alone, Stones Throw Records, 2012 - includes the track From Detroit/Belle Isle Society of Silence, Signifying Monkey, Society of Silence, 2012 - includes the track Beat Reading Detroit (A and B sides are mislabelled) Norm Talley, The Riviere D'etroit, Rue De Plaisance, 2012 Andras Toth, Would U?, Alphahouse, 2012 - includes the track Detroit Echo Tool Two Armadillos, Golden Age Thinking Part 3, Two Armadillos, 2012 - includes the track Detroit Dancer Unknown Artist, Long Distance to Detroit 02, Long Distance to Detroit, 2012 (the words Long Distance to Detroit are etched in the run out groove area) Various Artists, Essential Detroit Blues, Not Now Music Limited, 2012 Various Artists, In The Dark: The Soul Of Detroit, Still Music, 2012 Various Artists, KMS 25th Anniversary Classics Sampler 03, 2012 - includes Phil Agosta Tribute to Detroit (Agent X Motor City Remix) Various Artists, WPH Summer Sampler 2012, We Play House Recordings, 2012 includes Alex & The Grizzly Detroit/Berlin - San Soda's Lazer Remix (tracklisting etched in the run out groove area) Rick Wade, Detroit Fury EP, Hizou, 2012 DJ W!ld, We Almost Lost Detroit EP, W, 2012 Many thanks to the following: Alex at Stones Throw Records, Andrew at Alphahouse Records, Art at Pomelo Records, Bart at We Play House Recordings, Sander Bekeschus, Dennis at Terpsiton, Detroit Swindle, Glenn at Not Now Music Ltd, T.J. Hicks at Minimalsoul Recordings, James at Mahogani Music, Jamie at Cyantific Music, Jan at Börft Records, Jerome at Still Music, Jerry at Warner Bros. Records Inc., Justin at Mute, Luca at Waxjam, Jonas Ohlsson, Alan Oldham, Sagittarius A-Star, Kuba Sojka, Society of Silence, Varoslav at Rue De Plaisance Records and Rick Wade. Apologies if anyone has inadvertently been left out. spencergraham.net Tom Hackett My current interests present a shift from an engagement with the notion of the site specific and its commitment to place in a particular manner, to the notion of: site/place} fluid-fragmented-contingent In essence exploring one’s cerebral displacement from any given physical locus, by being mentally in many times and places, whilst physically occupying one given geographic point. Gathered conversations mingle with displaced memories, fiction and sites to set up layered and fragmented images blending extrapolated sound-bites and daydream both actual and fictional to form A0 text works for third party contemplation. Hitomi Kammai Media: Video My works are based on showing my ideas about humanity by using artificial objects such as light bulbs, tiles or invented objects. Recently, I have made paintings with dents. They represent polluted ground in Japan after the nuclear accident in 2011. These works also show that what used to be believed as perfect can turn into the opposite through the changing of time. Graham Keddie Unknowing in time an ineffable dialogue Media; Sculptural print. “Emergent Methodologies ... thinkers who are concerned with understanding the relationship between events and mental phenomena, and who have replaced the notion of “materialism” with that of “physicalism” (Beckermann 1992:1). Central to the work of such thinkers, is the theory of emergent evolution which asserts that as systems develop, their material configurations become more complex...”1 “...we live in a world where information bombardment is in danger of leading to atrophy of memory, erosion of privacy and decay of feeling...”2 Love and Information. Caryl Churchill. “Scene 1 Decision I’ve written down all the reasons to leave the country and all the reasons to stay. So how does that work out? There’s things on both side. How do you feel about it? No, I’m trying to make a rational decision based on the facts. Do you want me to decide for you? Based on what? The facts don’t add up I’d rather you stayed here. Does that help?”3 If language is a method by which we can see the limits of the physical boundaries applied through logic based on facts and therefore how things are, then I ask myself are there secrets that language can hold that are beyond what can be said? Can I legitimise the act of not knowing, deflect dogma interrupt preconceptions or fixed viewpoints? Therefore, disabled and dysfunctional, layered patination is at the centre of this work. I am engaging in an ineffable dialogue, struggling to define, determine or identify. ‘Peter believes Paul to be a Spy’. The nature of logic; Analyticity as logical truth. In this chapter the boundaries of logical truth are considered; ... “The definition of logical truth Consider the logical truth Brutus killed Caesar or Brutus did not kill Caesar. The schema for this sentence is: p or not p ...” 4 This piece interactively explores an equation of intentional contexts. It has within it, a predicate relational expression and can, in this context be annotated; ‘a R that S’. For me this statement has an emotional and unresolved nature to it, which I find uncomfortable. The work tries to broach this aspersion but it struggles to find proof, measurable evidence or definition. Therefore, ‘in the moment’ the piece becomes intangible and unplaced. However, the statement draws in a sense of value, doubt and moral questioning that, for me, brings about a cycle of emotional wrestling with this ‘predictive text’. 1. Barrett. E. Bolt. B. (2012) Practice as Research Approaches to Creative Arts Enquiry I. B. Tauris & Co Ltd.Replika Press Pvt. Ltd India, pp. 6-13. 2. Billington. M (15th September 2012) review of, Churchill. C. Love and Information. http://www.guardian.co.uk/stage/2012/sep/15/love-and-information-royal-court-review. 3. The Love and Information compiled and written by Lynne Gagliano, Royal Court Education Associate and Caitlin McLeod, Assistant Director for Love and Information. Cover Image by Science Visuals ©2012. Production photos and Caryl Churchill photo by Stephen Cumminskey © 2012. 4. Orenstein. A. W. (2002) Quine Acumen Publishing Limited. Printed Biddles Ltd., Guilford and King’s Lynn, Pp 95-99 www.grahamkeddie.com Gary Price-Hunt I Can’t Stay Long (after Bonnard) I Always Looked for You (after Bonnard) We Left the Week Ahead (after Bonnard) Pierre Bonnard (1867 -1942) The Table 1925 Oil on canvas 1029 x 743 mm Tate Modern, London The Bonnard table is brightly lit, casting blue shadows to the left of each of the assorted bowls, plates and baskets of food. Our table was round, sometimes oval if the cantilevered extra pieces were brought up from below to accommodate extra guests or food. It was lit in the same way with an overhead electric light that could rise and fall. The Bonnards look as though they ate well: this is France after all. There is bread and fruit here, set for three, with one child already at the table. I waited as well, hearing the preparation in the kitchen, seeing items being brought in as the Sunday tea took shape on the table. Bonnard was a bit older than me when he painted this. His studio was upstairs, close to this room and he would work from memory and small sketches. He made lots of similar paintings of meal times; there’s another one in The Tate Collection, Coffee, painted in 1915. It shows his wife and dog at the same(?) table. A bit daring… we wouldn’t have been allowed to have our dog at the table like that. She was around my feet. Waiting as well. That’s probably a rug under the Bonnard table, just visible in a narrow strip to the left and bottom. Rugs were for old houses not for one on a 1960s estate. We had fitted carpet made by Courtauld’s down the road in Kidderminster. This was the first Bonnard painting bought by the Tate, with money from a substantial Courtauld donation, a year after it was made. Gary Price-Hunt James Steventon James Steventon 15 hours 129.8 cm x 98.2 cm (framed) Pencil on paper 7 seconds per breath 3,600 seconds per hour 15 hours 7,714 breaths “ … pain takes no object, and like other interior states is impossible to express fully in the external shareable world … As runners, all we can do is map our surroundings, to note, submit, and file its geographical extremities. In return we are helped to chart our own physical limitations.” ¹ “A moment of complete happiness never occurs in the creation of a work of art. The promise of it is felt in the act of creation but disappears towards the completion of the work.” ² James Steventon’s practice involves methods of inhabiting the fleeting mental state of operation loosely defined by Csikszentmihalyi as ‘Flow’. Strategies for achieving this include both endurance running and endurance drawing. That the intention for each strategy is the same, the methods are considered alike: running is drawing. This can manifest itself as either public or private performance, where “Matter has been transformed into energy and time motion,” ³ or as the residue of performance in the form of an autotelic object. In each case this can be driven from perspective of the heart as a sensory organ. 1. Robin Harvie (2011). Why We Run: A Story Of Obsession. London: John Murray. pp72-73. 2. Lucian Freud (1996). Some Thoughts On Painting. Theories & Documents Of Contemporary Art: A Sourcebook Of Artists Writings. California: University Of California Press. p219. 3. Lucy Lippard. (February 1968). The Dematerialization of Art. Art International. Vol. XII (No.2), p31.
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