I found this website while looking for grid/layout ideas. It has a lot of ideas and examples of back issues of selected magazines, and also a wide selection of artists’ publications, including more experimental projects in sometimes very small print runs.
Motor Distribution
Friday, April 30, 2010
Wednesday, April 28, 2010
Star Signs
hey Katherine,
My starsign is Gemini, I found Kevin Atherton was born November 2nd 1950, so he's a Scorpio.
I found this on the net if anyone needs to match signs to a date..
http://www.astrology.com.au/12signs/signs.html
Mel.
My starsign is Gemini, I found Kevin Atherton was born November 2nd 1950, so he's a Scorpio.
I found this on the net if anyone needs to match signs to a date..
http://www.astrology.com.au/12signs/signs.html
Mel.
Artist Email..
Hey Aaron,
Im in the same boat as Jo, have found quite a few places it was exhibited but would like to double check I havn't left out any important ones etc.Mel
Tuesday, April 27, 2010
Sunday, April 25, 2010
Contacts
Hi Guys
Here's the info I've received from Tessa so far. If you already have the email contact for your artist but they're not listed below just go ahead and send them an email. At the very bottom of this long winded post I've attached the initial email I sent through to Tessa to pass on.
------------------------------
amaliapica@gmail.com
Dear Amalia,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'Moon Golem' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
(I've also attached the most recent iteration of the (OUR) text - can you make sure you are happy with everything inside? Do you think it's a good way to explain the
All my best, and please find their letter posted underneath.
Tessa
------------------------------
garethamoore@gmail.com
Dear Gareth,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'Map (from uncertain pilgrimage)' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
m.barnas@chello.nl
Dear Maria,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'The Writing Room' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
micfortune@gmail.com
"Aileen Lambert
Dear Mick and Aileen,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'The Banshee Lives in the Handball Alley' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
ep100@btinternet.com
Dear Elizabeth,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
I have sent them on the great list you made of all the TROPHY exhibitions. They would love to have high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
Hi there
We are a group of 10 graphic Design students from New Zealand who feel
incredibly fortunate to be producing a publication for the exhibition
entitled The Chained lady, The Microscope and The Southern Fish. The
show (as you may already be aware) is a retelling of the exhibition
Every Version Belongs to the Myth, to which your work was an integral
part. We hope to produce a publication that builds on the function of
myth investigated in the exhibition. It will be available at the
exhibition opening on May 20 and serve as both a gallery guide and
documentation of the show. Included will be texts and visual material
from the exhibition held in Dublin as well as images of the
installation at SoFA Gallery in Christchurch. One of the strategies we
wish to explore within the document is the history of the artifact. We
are interested in the life of works that exist within a traveling
group show, and hope to trace the residual content of the work
separate to the artists practice. We believe that this will help
explore the myth around individual art pieces as they shift context
from show to show, continent to continent, timezone to timezone. This
information would initially attempt to be an art work’s CV and help
trace the elements of connectivity between the various works in the
exhibition.
We are all incredibly excited about the opportunity to develop these
ideas into printed form and welcome any information you may have that
would be of use in producing this publication. If you were able to
supply us with any information related to past exhibitions of the
artworks you have in the show, or could perhaps point us in a
direction you may think would be helpful, that would be greatly
appreciated.
Thanks for your time. We are again extremely excited about this
project and are looking forward to sending you a printed publication
after its launch May 20, 2010.
Here's the info I've received from Tessa so far. If you already have the email contact for your artist but they're not listed below just go ahead and send them an email. At the very bottom of this long winded post I've attached the initial email I sent through to Tessa to pass on.
------------------------------
amaliapica@gmail.com
Dear Amalia,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'Moon Golem' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
(I've also attached the most recent iteration of the (OUR) text - can you make sure you are happy with everything inside? Do you think it's a good way to explain the
All my best, and please find their letter posted underneath.
Tessa
------------------------------
garethamoore@gmail.com
Dear Gareth,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'Map (from uncertain pilgrimage)' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
m.barnas@chello.nl
Dear Maria,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'The Writing Room' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
micfortune@gmail.com
"Aileen Lambert
Dear Mick and Aileen,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'The Banshee Lives in the Handball Alley' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
ep100@btinternet.com
Dear Elizabeth,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
I have sent them on the great list you made of all the TROPHY exhibitions. They would love to have high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
Hi there
We are a group of 10 graphic Design students from New Zealand who feel
incredibly fortunate to be producing a publication for the exhibition
entitled The Chained lady, The Microscope and The Southern Fish. The
show (as you may already be aware) is a retelling of the exhibition
Every Version Belongs to the Myth, to which your work was an integral
part. We hope to produce a publication that builds on the function of
myth investigated in the exhibition. It will be available at the
exhibition opening on May 20 and serve as both a gallery guide and
documentation of the show. Included will be texts and visual material
from the exhibition held in Dublin as well as images of the
installation at SoFA Gallery in Christchurch. One of the strategies we
wish to explore within the document is the history of the artifact. We
are interested in the life of works that exist within a traveling
group show, and hope to trace the residual content of the work
separate to the artists practice. We believe that this will help
explore the myth around individual art pieces as they shift context
from show to show, continent to continent, timezone to timezone. This
information would initially attempt to be an art work’s CV and help
trace the elements of connectivity between the various works in the
exhibition.
We are all incredibly excited about the opportunity to develop these
ideas into printed form and welcome any information you may have that
would be of use in producing this publication. If you were able to
supply us with any information related to past exhibitions of the
artworks you have in the show, or could perhaps point us in a
direction you may think would be helpful, that would be greatly
appreciated.
Thanks for your time. We are again extremely excited about this
project and are looking forward to sending you a printed publication
after its launch May 20, 2010.
Friday, April 23, 2010
Thursday, April 22, 2010
Map
>>> On 22/04/2010 at 12:31, in message
Hi Tessa,
Super, looking forward to hearing from the student(s).
The map has only been shown twice, once with you and another time at Catriona's - actually at Catriona's it was the blue map.I have shown another couple maps that are something similar - found maps with marked routes which I then painted out the rest of the map aside from the marked route.
if Higher res images are needed then someone can contact the gallery. the last image is of my friend David who visited the show in Dublin and sent me the picture. It's especially nice.
best wishes,
gareth
Wednesday, April 21, 2010
Elizabeth Price and 'Trophy' - history of exhibitions
Got this from Tessa this morning regarding the Trophy work...
Hello Tessa,
Sorry not to get back sooner - yes this seems a good idea. I don't have all the press releases, but they shouldn't be too tricky to track down. I'll try to remember the show titles or any other info:
The engravings on the trophy are below - for each of them I've added what I know/have/remember
4 May - 4 June 2000 Anthony Wilkinson Gallery, London
3 Rooms, Other artists Matthew Higgs Angela de la Cruz
22 June - 3 Sep 2002 Lenbachhaus Museum, Munich
AM ANFANG DER BEWEGUNG STAND EIN SKANDAL Lenbachaus Museum, Munich.
Other artists: Mark Titchner, ArtLab, Volker Eichelmann, Jonathan Faiers, Roland Rust, Kaye Donachie, Szuper Gallery, Salon de Fleurus, Liam Gillick, Pavlo Kerestey, Alun Rowlands, Alexander Brener & Barbara Schurz, Markus Vater, Chris Warmingtom, Inventory, Tilo Schulz, Mark Dickenson & Martin Clark, Flatpack 001. Reviewed by Peter Suchin in Frieze.
3 May - 8 June 2003 Mobile Home Gallery London
DENNESS One Person Show. Mobile Home, London. Reviewed by Jessica Lack in The Guardian, Sally O Reilly in Time Out, John Michie in the Independant
17 July - 8 August 2003 Houldsworth, London
Imaging London
11 October - 2 November 2003 1000000mph London
Taking Speed
14 January - 15 February 2004 Jerwood Space London
JERWOOD ARTISTS PLATFORM Solo Show, Jerwood Gallery. National competition to select 4 emerging artists for solo show at Jerwood. Catalogue essay written by Sally O’Reilly.
Reviews by Jessica Lack in The Guardian; Sarah Kent in Time Out; Peter Suchin in Artists Newsletter
18 January - 18 February 2006 Gimpel fils, London
WANDERING ROCKS Group Show Gimpel Fils Gallery, London.
Curated by David Waterworth. Other artists: Mike Nelson, Marc Chaimowicz & Nadia Wallis, Simon Faithfull, Adam Gillam, Renata Hegyi, John Kindness, Graeme Miller, Lindsay Seer
17 August - 27 August 2006 The Spiral House, Tensta Konsthalle, Stockholm
12 - 15 October 2007 The Royal Academy of Arts, London
Zoo Art Fair
17 May - 24 June 2008 Dispari e Dispari, Reggio Emilia
http://www.dispariedispari.org/
THE SOCIETY OF LONDON LADIES.
Group Show, Dispari e Dispari Project, Reggio Amelia . Curated by Arnaud Desjardins. Other artists: Fiona Banner, Lolly Batty, Ellen Cantor, Charlotte Cullinan and Jeanine Richards, Sarah Dobai, Alison Gill, Margarita Gluzberg, Sarah Jones, Lucy Reynolds, Bridget Smith. With accompanying publication.
29 June - 5 October - Basel Kunsthalle
Word Event
André Avelãs, Stuart Bailey & Frances Stark, Becky Beasley, Walead Beshty, Julia Born & Alexandra Bachzetsis, George Brecht, James Lee Byars, Paul Elliman, Aurélien Froment, Dora Garcia, Will Holder, Alon Levin, Amalia Pica, Falke Pisano, Michael Portnoy, Elizabeth Price, Mandla Reuter, Dexter Sinister, Sue Tompkins, Edward Underwood, Emily Wardill
extended until October 5, 2008
Can a gesture be a word?
Word Event looks at a select group of makers who carry on a tradition of subversive methodology in their practice and attitude.
Word Event is a multi-level cross-sectioned exhibition of contemporary works, events, performances and informances, scores, printed matter and film. Taking George Brecht’s “Word Event” (1961), a handwritten Event Card, as its starting point, the exhibition attempts to displace itself by purposely seeking out confrontation and synchronization thus landing in the exhibition space as an active dialogue. Word Event points to a possible return of a fluxus sensibility via a new, contemporary, proverbial linguistic turn.
Artists today – or more precisely, ‘cultural producers’ – are reactivating a language based and, specifically, narrative based practice. Creating room for conversation and leveling the hierarchy of production between sketch, thought and product, this linguistic turn approaches the surface of the metaphorical page as an ‘exchange surface’, ‘as a space of shift between different mediums, in which, as Rancière puts it, “signs become forms and forms become acts.”’ [1]
Works by the artists in Word Event contain an active ‘displacement’ (or exchange) between word and image, the narrative and the picture, which occurs on many levels, in different media – from the more ephemeral to the concrete, as rumours, scripts, instructions, lectures, posters, objects and a seance. A sculpture turns into a conversation, a lecture into a series of posters, the unassuming viewer into a story; he receives directives by photograph, listens to a score purposefully mirrored while gambling to new rules under the watchful eyes of the Jack of Spades. Word Event is the happy hijacking of space by language where installations, film, the stage, the book and sound live together in one converged setting.
Curated by Maxine Kopsa and Roos Gortzak
[1] Quoted from ‘The Space of Words’ by Christophe Gallois, Metropolis M, nr 2 2008, who cites Rancière’s L’Espace des mots, Musée des Beaux-Arts de Nantes, 2005, p. 13, translation by Christophe Gallois.
Online review and video of the opening at Vernissage-TV
A series of performances took place on the opening night, Saturday, June 28, 2008:
7 – 9pm Abstract gambling at the solid felt table with Dir. of Behavior, Michael Portnoy (video of the performance at Vernissage-TV)
7.30pm Performance by André Avelãs (video of the performance at Vernissage-TV)
8pm John Cage: Indeterminacy*, recited by Will Holder and accompanied by Falke Pisano’s A Sculpture Turning Into a Conversation
This exhibition has been generously supported by:
Annemarie Burckhardt
28 June - 20 August Stephen Lawrence Gallery London
“The Eagle Document: The New Collection of Enumerated Things” is curated by Monika Oechsler.
The exhibition considers the place of the collection in contemporary society and reinvents the collection in a new and imaginative form. ‘The New Collection of Enumerated Things’ is neither static nor institutional, but exists as a creative interplay between artists, artworks, and situation. ‘The New Collection’ presents a group of artists whose sensibility and mode of production is concerned with aesthetic reception as a shared social activity. ‘The New Collection’ does not prioritise art objects but instead creates rhizomatic relationships between ‘Enumerated Things’ (works in progress, research material, found and ready-made objects, props, contextual material, scientific models, interventions and ideas for future situations). Hence, “The New Collection” consists of an assemblage of visual markers of creative research and production, which invites the viewer to engage in the imaginary act of editing and re-assembling the items in collection. In this sense, “The New Collection” considers the spectator as a social agent, embedded in the wider cultural network, and as an active participant in the creation of new ideas, thoughts, and associations. Thus, ‘The New Collection’ exhibition creates a performative and dialogic situation between viewer and art works, which does away with passive spectatorship. “The New Collection” challenges the notion of the ‘art object in collection’ and instead configures the collection as a contextual and relational situation.
“The Eagle Document: The New Collection of Enumerated Things” will be certified as an art collection and will be bequeathed to the Stephen Lawrence Gallery, University of Greenwich, which will become its honorary custodian. However, the individual items of the collection will remain with and in the ownership of the individual artists/creators. The New Collection can be hired and toured for exhibition and will expand in time through new contributions.
“The Eagle Document: The New Collection of Enumerated Things” is curated by Monika Oechsler.
Elizabeth Price
Senior Tutor in Research, Painting
Tutor in Research, Sculpture
020 75904404
Painting School
Royal College of Art
Kensington Gore
London SW7 2EU
Hello Tessa,
Sorry not to get back sooner - yes this seems a good idea. I don't have all the press releases, but they shouldn't be too tricky to track down. I'll try to remember the show titles or any other info:
The engravings on the trophy are below - for each of them I've added what I know/have/remember
4 May - 4 June 2000 Anthony Wilkinson Gallery, London
3 Rooms, Other artists Matthew Higgs Angela de la Cruz
22 June - 3 Sep 2002 Lenbachhaus Museum, Munich
AM ANFANG DER BEWEGUNG STAND EIN SKANDAL Lenbachaus Museum, Munich.
Other artists: Mark Titchner, ArtLab, Volker Eichelmann, Jonathan Faiers, Roland Rust, Kaye Donachie, Szuper Gallery, Salon de Fleurus, Liam Gillick, Pavlo Kerestey, Alun Rowlands, Alexander Brener & Barbara Schurz, Markus Vater, Chris Warmingtom, Inventory, Tilo Schulz, Mark Dickenson & Martin Clark, Flatpack 001. Reviewed by Peter Suchin in Frieze.
3 May - 8 June 2003 Mobile Home Gallery London
DENNESS One Person Show. Mobile Home, London. Reviewed by Jessica Lack in The Guardian, Sally O Reilly in Time Out, John Michie in the Independant
17 July - 8 August 2003 Houldsworth, London
Imaging London
11 October - 2 November 2003 1000000mph London
Taking Speed
14 January - 15 February 2004 Jerwood Space London
JERWOOD ARTISTS PLATFORM Solo Show, Jerwood Gallery. National competition to select 4 emerging artists for solo show at Jerwood. Catalogue essay written by Sally O’Reilly.
Reviews by Jessica Lack in The Guardian; Sarah Kent in Time Out; Peter Suchin in Artists Newsletter
18 January - 18 February 2006 Gimpel fils, London
WANDERING ROCKS Group Show Gimpel Fils Gallery, London.
Curated by David Waterworth. Other artists: Mike Nelson, Marc Chaimowicz & Nadia Wallis, Simon Faithfull, Adam Gillam, Renata Hegyi, John Kindness, Graeme Miller, Lindsay Seer
17 August - 27 August 2006 The Spiral House, Tensta Konsthalle, Stockholm
12 - 15 October 2007 The Royal Academy of Arts, London
Zoo Art Fair
17 May - 24 June 2008 Dispari e Dispari, Reggio Emilia
http://www.dispariedispari.org/
THE SOCIETY OF LONDON LADIES.
Group Show, Dispari e Dispari Project, Reggio Amelia . Curated by Arnaud Desjardins. Other artists: Fiona Banner, Lolly Batty, Ellen Cantor, Charlotte Cullinan and Jeanine Richards, Sarah Dobai, Alison Gill, Margarita Gluzberg, Sarah Jones, Lucy Reynolds, Bridget Smith. With accompanying publication.
29 June - 5 October - Basel Kunsthalle
Word Event
André Avelãs, Stuart Bailey & Frances Stark, Becky Beasley, Walead Beshty, Julia Born & Alexandra Bachzetsis, George Brecht, James Lee Byars, Paul Elliman, Aurélien Froment, Dora Garcia, Will Holder, Alon Levin, Amalia Pica, Falke Pisano, Michael Portnoy, Elizabeth Price, Mandla Reuter, Dexter Sinister, Sue Tompkins, Edward Underwood, Emily Wardill
extended until October 5, 2008
Can a gesture be a word?
Word Event looks at a select group of makers who carry on a tradition of subversive methodology in their practice and attitude.
Word Event is a multi-level cross-sectioned exhibition of contemporary works, events, performances and informances, scores, printed matter and film. Taking George Brecht’s “Word Event” (1961), a handwritten Event Card, as its starting point, the exhibition attempts to displace itself by purposely seeking out confrontation and synchronization thus landing in the exhibition space as an active dialogue. Word Event points to a possible return of a fluxus sensibility via a new, contemporary, proverbial linguistic turn.
Artists today – or more precisely, ‘cultural producers’ – are reactivating a language based and, specifically, narrative based practice. Creating room for conversation and leveling the hierarchy of production between sketch, thought and product, this linguistic turn approaches the surface of the metaphorical page as an ‘exchange surface’, ‘as a space of shift between different mediums, in which, as Rancière puts it, “signs become forms and forms become acts.”’ [1]
Works by the artists in Word Event contain an active ‘displacement’ (or exchange) between word and image, the narrative and the picture, which occurs on many levels, in different media – from the more ephemeral to the concrete, as rumours, scripts, instructions, lectures, posters, objects and a seance. A sculpture turns into a conversation, a lecture into a series of posters, the unassuming viewer into a story; he receives directives by photograph, listens to a score purposefully mirrored while gambling to new rules under the watchful eyes of the Jack of Spades. Word Event is the happy hijacking of space by language where installations, film, the stage, the book and sound live together in one converged setting.
Curated by Maxine Kopsa and Roos Gortzak
[1] Quoted from ‘The Space of Words’ by Christophe Gallois, Metropolis M, nr 2 2008, who cites Rancière’s L’Espace des mots, Musée des Beaux-Arts de Nantes, 2005, p. 13, translation by Christophe Gallois.
Online review and video of the opening at Vernissage-TV
A series of performances took place on the opening night, Saturday, June 28, 2008:
7 – 9pm Abstract gambling at the solid felt table with Dir. of Behavior, Michael Portnoy (video of the performance at Vernissage-TV)
7.30pm Performance by André Avelãs (video of the performance at Vernissage-TV)
8pm John Cage: Indeterminacy*, recited by Will Holder and accompanied by Falke Pisano’s A Sculpture Turning Into a Conversation
This exhibition has been generously supported by:
Annemarie Burckhardt
28 June - 20 August Stephen Lawrence Gallery London
“The Eagle Document: The New Collection of Enumerated Things” is curated by Monika Oechsler.
The exhibition considers the place of the collection in contemporary society and reinvents the collection in a new and imaginative form. ‘The New Collection of Enumerated Things’ is neither static nor institutional, but exists as a creative interplay between artists, artworks, and situation. ‘The New Collection’ presents a group of artists whose sensibility and mode of production is concerned with aesthetic reception as a shared social activity. ‘The New Collection’ does not prioritise art objects but instead creates rhizomatic relationships between ‘Enumerated Things’ (works in progress, research material, found and ready-made objects, props, contextual material, scientific models, interventions and ideas for future situations). Hence, “The New Collection” consists of an assemblage of visual markers of creative research and production, which invites the viewer to engage in the imaginary act of editing and re-assembling the items in collection. In this sense, “The New Collection” considers the spectator as a social agent, embedded in the wider cultural network, and as an active participant in the creation of new ideas, thoughts, and associations. Thus, ‘The New Collection’ exhibition creates a performative and dialogic situation between viewer and art works, which does away with passive spectatorship. “The New Collection” challenges the notion of the ‘art object in collection’ and instead configures the collection as a contextual and relational situation.
“The Eagle Document: The New Collection of Enumerated Things” will be certified as an art collection and will be bequeathed to the Stephen Lawrence Gallery, University of Greenwich, which will become its honorary custodian. However, the individual items of the collection will remain with and in the ownership of the individual artists/creators. The New Collection can be hired and toured for exhibition and will expand in time through new contributions.
“The Eagle Document: The New Collection of Enumerated Things” is curated by Monika Oechsler.
Elizabeth Price
Senior Tutor in Research, Painting
Tutor in Research, Sculpture
020 75904404
Painting School
Royal College of Art
Kensington Gore
London SW7 2EU
Tuesday, April 20, 2010
Gareth Moore - Paper Map - Uncertain Pilgrimage
Catriona Jeffries Gallery, (Uncertain Pilgrimage)
Vancouver, British Columbia
15 January - 19 February 2009
www.catrionajeffries.com
+2+-+2006:2009.jpg)
National Gallery of Canada, (Nomads)
Ottawa, Ontario
17 April - 30 August 2009
www.gallery.ca/nomads
+2009+in+the+exhibition+%E2%80%9CNomads%E2%80%9D+Courtesy+Catriona+Jeffries+Gallery+:+Photo+%C2%A9+NGC.jpg)
Uncertain Pilgrimage or works from the project/exhibition I found to date appear in four other exhibitions of Gareth Moore's.
1 - Street: Behind the Cliche - 2006
2 - Street Scene - 2007
3 - Gareth Moore: As a Wild Boar Passes Water - 2008
4 - Gareth Moore: Passengers 1.9 - 2008
Hi, below is some stuff on Pavel Pepperstein, I've found heaps on the artist but struggled to find contextual stuff for these specific works. See you all tomorrow
PAVEL PEPPERSTEIN
- Russian Pavilion
http://russian-pavilion.info/eng/pepperstein.html
“VICTORY OVER THE FUTURE" - 53rd INTERNATIONAL ART EXHIBITION LA BIENNALE DI VENEZIA 2009 (see catalogue)
- Kewenig Galerie
http://www.schauort.com/pavel-pepperstein.htm
http://www.labiennale.org/en/art/exhibition/artists/
‘Making Worlds’ - 7 June – 22 November 2009
- André Thomkins - Pavel Pepperstein - Robert Watts
http://www.creativeurope.com/Andr_Thomkins_Pavel_Pepperstein_Robert_Watts
Kunstmuseum Liechtenstein - 5 March – 27 June 2010
Artist C.V
http://dl.dropbox.com/u/1256764/CVs/Pepperstein_CV.pdf
http://www.regina.ru/main?page=artists&id=14&type=biography
Monday, April 19, 2010
The Writing Room
So from what I can find at the moment it appears the only exhibition 'The Writing Room' has been in is this one called "A for Alibi" which was run by the Uqbar Foundation which is trying to encourage and start interdisciplinary practice and discussion between artists, scientists and institutions which you can read about here... http://www.uqbarfoundation.org/I also found a sort of brief they were given which is here... http://www.deappel.nl/exhibitions/e/553/
Amalia Pica
Hi everyone
So far I’ve managed to tracked the only other exhibition that Amalia Pica and her work Moon Golem 2009 has been in apart for Every Myth...
This work was commissioned for the group exhibition Deceitful Moon at the Hayward Gallery Project Space (20 July – 31 August 2009). It opened 40 years after the Apollo 11 moon landing and the show celebrates this anniversary. This group exhibition and “explores the Moon as a site for misrepresentation and mistrust, touching on a tradition of hoaxes and conspiracy theories that reaches back to the 18th century”. I think this idea relates quite well to the exhibition in Dublin as well as in NZ, especially the idea of misrepresentation.
There is an artist biography and group exhibitions list on this website but none of her other group or solo shows have included this particular work.
http://www.dianastigter.nl/do.php
Elizabeth Price
So have found it quite difficult to trace all the exhibitions Elizabeth Price's 'Trophy' work has been in, but these are the links I have found so far..
Interview by paul O'neill in Art Monthly
Liz Price's Trophy by Sean Ashton on art-omma.org
Imaging London, August 2003
Price at Jerwood Space, London
Wandering Rocks, group show at Gimpel Fils
Sunday, April 18, 2010
'Reconstruction of the Oldest Piece on Earth'
Hi everyone,
I've been looking into the work by MAHONY, entitled 'Reconstruction of the Oldest Piece on Earth.' So far I've only been able to find 2 other exhibitions apart from Every Version Belongs to the Myth that this piece has been in:
1. 'The Lab' in Vienna. As far as I can gather this exhibition was part of a wider project in Vienna called Into Position. See installation images of mahony's work on the INTO POSITION website
by clicking 'Pictures of the opening' (top right)
2. 'Science Fictions' in Poland (a follow-on from The Lab).
The work can also be found on Mahony's website and on this blog
I've been looking into the work by MAHONY, entitled 'Reconstruction of the Oldest Piece on Earth.' So far I've only been able to find 2 other exhibitions apart from Every Version Belongs to the Myth that this piece has been in:
1. 'The Lab' in Vienna. As far as I can gather this exhibition was part of a wider project in Vienna called Into Position. See installation images of mahony's work on the INTO POSITION website
by clicking 'Pictures of the opening' (top right)
2. 'Science Fictions' in Poland (a follow-on from The Lab).
The work can also be found on Mahony's website and on this blog
Have been in touch with a number of places re: printing costs, supposed to hear back from all of them today... only heard back from Wyatt and Wilson so here is their quote for both single and double sided printing. They are going to wait until later to quote for folding. Have a think..
DESCRIPTION: A1 POSTER - 1 COLOUR - KATHERINE BOROWCZYK
Printed 1 colour one side on 90 gsm Offset.
Trimmed to 841x594mm and packed.
Despatched to one address in Christchurch.
Finished Size: 841 x 594mm
Quantities: 300
Origination: 80.00
Printing: 208.00
TOTAL: $288.00
THE ABOVE PRICES DO NOT INCLUDE G.S.T.
DESCRIPTION: A1 POSTER - 1 COLOUR/2SIDES - KATHERINE BOROWCZYK
Printed 1 colour two sides on 90 gsm Offset.
Trimmed to 841x594mm and packed.
Despatched to one address in Christchurch.
Finished Size: 841 x 594mm
Quantities: 300
Origination: 160.00
Printing: 271.00
TOTAL: $431.00
THE ABOVE PRICES DO NOT INCLUDE G.S.T.
Will let you know when i hopefully hear from the others,
K
Wednesday, April 14, 2010
Table wanted!!!!
Hey Guys, we're looking for this antique table for the exhibition to house the map. Dimensions need to be
740mm x 950mm or thereabouts. Can we all look at home or ask friends and family if they have something that may be suitable.
Cheers
A
740mm x 950mm or thereabouts. Can we all look at home or ask friends and family if they have something that may be suitable.
Cheers
A
constellations
Hi guys
Just had this email through from Tessa regarding information about constellations...
>>> On 23/03/2010 at 06:57, in message <56451248-6A62-4DEC-9672-8DAF3B88BD22@cfa.harvard.edu>, Jean-Michel Désert wrote:
Hi Tessa,
Good to hear from you! It was really great to see you in NY. Will I see you next week in LA? I hope so...
Thanks for asking me about the constellations. However, I have to admit that my knowledge about them is very limited. Surely, the name of the constellation reflect the knowledge development of the people who named them. But this is only one part of there names. The most important parts being history and mythology. Chinese or pre-Columbian constellations for example are defined by very different tales compared to the antics (Greco-mesopotamian) that we use in our civilization.
The Chained Lady, the Microscope and the Southern Fish, are 3 different constellations (which themselves are part of other constellations defined by other civilizations) which have been named at different epochs (just to be clear, they are not the same constellation with 3 different names). Therefore, one can argue that this constellations reflect different knowledge. De Lacaille for example named southern constellations during the mid-eighteenth century with technical instrumental names such as the "Microscope", reflecting the enlightenment of science at that time.
Excellent! Constellation have been used to map our sky and find our ways! -- you cannot be lost anymore.
The title that you have chosen sounds really great. I hope that you'll keep it! It sounds really great.
Unfortunately, I don't have a great knowledge about constellations. However, there must be modern editions of Bayer and Hevelius books who named most of the constellation that we know today (in the 17th century). I am sure that it must be quite interesting to flip through them. There is a classic book in the US ("The Book of constellations"), but you may find it a bit boring since it is mainly descriptive.
I am sorry that I I am not helping you more, but this is the limit of my knowledge on this subject.
I hope that this will help. Please let me know if you need more information. I could definitely look more into that subject.
Jean-Michel
Just had this email through from Tessa regarding information about constellations...
>>> On 23/03/2010 at 06:57, in message <56451248-6A62-4DEC-9672-8DAF3B88BD22@cfa.harvard.edu>, Jean-Michel Désert
Hi Tessa,
Good to hear from you! It was really great to see you in NY. Will I see you next week in LA? I hope so...
Thanks for asking me about the constellations. However, I have to admit that my knowledge about them is very limited. Surely, the name of the constellation reflect the knowledge development of the people who named them. But this is only one part of there names. The most important parts being history and mythology. Chinese or pre-Columbian constellations for example are defined by very different tales compared to the antics (Greco-mesopotamian) that we use in our civilization.
The Chained Lady, the Microscope and the Southern Fish, are 3 different constellations (which themselves are part of other constellations defined by other civilizations) which have been named at different epochs (just to be clear, they are not the same constellation with 3 different names). Therefore, one can argue that this constellations reflect different knowledge. De Lacaille for example named southern constellations during the mid-eighteenth century with technical instrumental names such as the "Microscope", reflecting the enlightenment of science at that time.
Excellent! Constellation have been used to map our sky and find our ways! -- you cannot be lost anymore.
The title that you have chosen sounds really great. I hope that you'll keep it! It sounds really great.
Unfortunately, I don't have a great knowledge about constellations. However, there must be modern editions of Bayer and Hevelius books who named most of the constellation that we know today (in the 17th century). I am sure that it must be quite interesting to flip through them. There is a classic book in the US ("The Book of constellations"), but you may find it a bit boring since it is mainly descriptive.
I am sorry that I I am not helping you more, but this is the limit of my knowledge on this subject.
I hope that this will help. Please let me know if you need more information. I could definitely look more into that subject.
Jean-Michel
Sunday, April 11, 2010
Here's the link to the Claude levi Strauss article on Art Forum, not sure if it's the entire article from the magazine but the April issue isn't out in Borders yet
Thursday, April 8, 2010
Wednesday, April 7, 2010
The Chained Lady
Hi Guys
Here's a quick paragraph or two to send through to Tessa for her to pass on to the artists. Please let me know if I've left something out or if I've said too much somewhere. Not sure if we need to be more directed at the end as to the information we require from them. What are your thoughts?
A
Hi there
We are a group of 10 graphic Design students from New Zealand who feel incredibly fortunate to be producing a publication for the exhibition entitled The Chained lady, The Microscope and The Southern Fish. The show (as you may already be aware) is a retelling of the exhibition Every Version Belongs to the Myth, to which your work was an integral part. We hope to produce a publication that builds on the function of myth investigated in the exhibition. It will be available at the exhibition opening on May 20 and serve as both a gallery guide and documentation of the show. Included will be texts and visual material from the exhibition held in Dublin as well as images of the installation at SoFA Gallery in Christchurch. One of the strategies we wish to explore within the document is the history of the artifact. We are interested in the life of works that exist within a traveling group show, and hope to trace the residual content of the work separate to the artists practice. We believe that this will help explore the myth around individual art pieces as they shift context from show to show, continent to continent, timezone to timezone. This information would initially attempt to be an art work’s CV and help trace the elements of connectivity between the various works in the exhibition.
We are all incredibly excited about the opportunity to develop these ideas into printed form and welcome any information you may have that would be of use in producing this publication. If you were able to supply us with any information related to past exhibitions of the artworks you have in the show, or could perhaps point us in a direction you may think would be helpful, that would be greatly appreciated.
Thanks for your time. We are again extremely excited about this project and are looking forward to sending you a printed publication after its launch May 20, 2010.
Here's a quick paragraph or two to send through to Tessa for her to pass on to the artists. Please let me know if I've left something out or if I've said too much somewhere. Not sure if we need to be more directed at the end as to the information we require from them. What are your thoughts?
A
Hi there
We are a group of 10 graphic Design students from New Zealand who feel incredibly fortunate to be producing a publication for the exhibition entitled The Chained lady, The Microscope and The Southern Fish. The show (as you may already be aware) is a retelling of the exhibition Every Version Belongs to the Myth, to which your work was an integral part. We hope to produce a publication that builds on the function of myth investigated in the exhibition. It will be available at the exhibition opening on May 20 and serve as both a gallery guide and documentation of the show. Included will be texts and visual material from the exhibition held in Dublin as well as images of the installation at SoFA Gallery in Christchurch. One of the strategies we wish to explore within the document is the history of the artifact. We are interested in the life of works that exist within a traveling group show, and hope to trace the residual content of the work separate to the artists practice. We believe that this will help explore the myth around individual art pieces as they shift context from show to show, continent to continent, timezone to timezone. This information would initially attempt to be an art work’s CV and help trace the elements of connectivity between the various works in the exhibition.
We are all incredibly excited about the opportunity to develop these ideas into printed form and welcome any information you may have that would be of use in producing this publication. If you were able to supply us with any information related to past exhibitions of the artworks you have in the show, or could perhaps point us in a direction you may think would be helpful, that would be greatly appreciated.
Thanks for your time. We are again extremely excited about this project and are looking forward to sending you a printed publication after its launch May 20, 2010.
Monday, April 5, 2010
Meeting minutes
Hi everyone. I've emailed the notes from the meeting this morning to your gmail addresses. :)
Constellations
Hey so i started doing some reading about the title, I am not sure whether it actually is the same constellation as we first thought but ones that have interesting mythological stories or can be interpreted as different things.
You can read about them at http://www.ianridpath.com/startales/startales3.htm
hey guys,
I came across a few helpful sites for getting a better idea of some of the works in the exhibition. You can watch the video clips and read about the making of The Banshee Lives in Handball Alley (Michael Fortune and Aileen Lambert's work) and view the rest of Gareth Moore's Uncertain Pilgrimage from which the blank map was part of.
And if anyone is interested in a bit of background reading, here's a review on some of Claude Levi Strauss' work http://www.ovimagazine.com/art/2947
Hope the meeting tomorrow goes well!
I came across a few helpful sites for getting a better idea of some of the works in the exhibition. You can watch the video clips and read about the making of The Banshee Lives in Handball Alley (Michael Fortune and Aileen Lambert's work) and view the rest of Gareth Moore's Uncertain Pilgrimage from which the blank map was part of.
And if anyone is interested in a bit of background reading, here's a review on some of Claude Levi Strauss' work http://www.ovimagazine.com/art/2947
Hope the meeting tomorrow goes well!
Catalogue ideas from our last meeting
Hey everyone,
So heres a list of the things we talked about that we might want to include in the publication. I've prob missed some things though so feel free to add to it.
-The three original texts (Curator's text, Juno's text and Caoimhin's text) -In the form of the original gallery guides?
-Possibly another 7year old's text if we find someone to write one.
-A maori writers text (we talked about there being a version reproduced in te reo aswell or in place of it)
-The SOFA catalogue interview.
-Background info on Claude levi Strauss' philosophy
-A back-catalogue of the works and how/where they have existed before the show.
-Imagery of the works in their previous contexts.
-Images of the works in 'transit'.
-Documentation of the works as they are being installed in SOFA and images of their actual installation.
-We talked about pre-showing images of the works around town possibly in the form of posters.
-A contents/index page.
-Cover, back page, title page, ISBN etc
Sunday, April 4, 2010
Behance Network
Hey this doesn't really have anything to do with Tessa's project but it is a pretty cool website with lots of different kinds of work that you guys might like...
http://www.behance.net/?category=projects&browse=featured&time=all
Tuesday Meeting
Hi guys
Hope you've all got things sorted for tomorrow's meeting (11.00am in the studio). I was hoping someone would post the list of items to bring/have researched on the blog so we'd all be on the same page. Feel free to do so today if you have the list handy. Hope you're all having a great easter.
A
Subscribe to:
Posts (Atom)